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Eclectic symbolism: The interplay of...

Oba, Mitsutoshi.

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Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900./
作者:	Oba, Mitsutoshi.
面頁冊數:	393 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4243.
Contained By:	Dissertation Abstracts International64-12A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3115279

Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900.
Oba, Mitsutoshi.

Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900. - 393 p.

Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4243.

Thesis (Ph.D.)--City University of New York, 2004.

This study is a multicultural and multimedia reexamination of the aesthetics of folding screens created by the American painter Thomas Wilmer Dewing (1851--1938) between 1896 and 1900. These screens were executed exclusively for the Detroit houses of his patron Charles Lang Freer and Freer's business partner, Frank J. Hecker. During the 1890s, Freer was recognized as a major japonophile for whom Dewing not only created paintings but also purchased Japanese objets d'art.Subjects--Topical Terms:

635474
Art History.

Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900.
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245 1 0 $a Eclectic symbolism: The interplay of Japonisme and classicism in the folding screens by Thomas Wilmer Dewing, 1896--1900.
300 $a 393 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4243.
500 $a Adviser: Katherine Manthorne.
502 $a Thesis (Ph.D.)--City University of New York, 2004.
520 $a This study is a multicultural and multimedia reexamination of the aesthetics of folding screens created by the American painter Thomas Wilmer Dewing (1851--1938) between 1896 and 1900. These screens were executed exclusively for the Detroit houses of his patron Charles Lang Freer and Freer's business partner, Frank J. Hecker. During the 1890s, Freer was recognized as a major japonophile for whom Dewing not only created paintings but also purchased Japanese objets d'art.
520 $a In Dewing's screens, the impact of Japanese art is revealed by such visual devices as pairing of screens, continuous scenes across the paired screens, right-to-left orientation of iconography, and non-illusionistic style. These japonisme elements were combined by Dewing with classical elements: the Arcadian landscapes with mythological female figures in Grecian garments. Moreover, the frames of the screens designed by Stanford White were derived directly from ancient Greek temples. Interestingly, this cultural synthesis is also reflected in the ways in which these screens can be folded for display: in the byobu way (z-shape) and in the manner of a Christian folding altarpiece in which the central panel is framed by side panels.
520 $a Inspired by British Aestheticism and French Symbolism as well as the idealist tradition and eclecticism in Victorian America, Dewing alluded to the eclectic styles of patrons' houses in his folding screens. What Dewing created with the eclectic juxtaposition of (and further conflation of) japonisme and classicism in those folding structures and painted images was a synaesthetic evocation of music, poetry, and theater, suggesting his reference to Baudelairian correspondances as well as Wagnerian Gesamtkunstwerk. The double dimensionality and double folding-system of Dewing's screens not only efface the boundaries of art objects but also help to bring out a new visual expression of sensory correspondences as well as a new understanding of theater in the age of Symbolism. This point is further articulated in this study through investigations of Dewing's cultural milieu as well as his artistic activities including a multicultural masque play of 1894 directed by Dewing to celebrate Freer's first Asian tour.
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