| Research Abstract |
This research clarified the artistic interrelations between France and Japan in the late 19^<th> century from three points of view. First, we investigated the Japonisme not in the Impressionists, but in the academic Salon painters as Firmin-Girard, who were interested in the exoticism represented by Japanese subjects. This attitude is considered as a prolongation of Orientalism in the painting of the 19^<th> century. We also indicate the relationship with Japonisme of this period in allegorical figure of Asia, script in pictures, and French ceramics. Secondly, Raphael Collin, one of the representatives of academic Salon painters, was studied in his collection of Japanese Art and in his education of Japanese pupils. Our analysis revealed that the Japonisme of Collin is not of exoticism, nor formative one like that of Impressionism, but the essential Japonisme based on the aesthetic sympathy with Japanese art like Harunobu, Korin or ceramics for tea ceremony. In this sense, it was not a coincidence that Collin received many Japanese pupils in his atelier. In the third, we researched the modes of reception of French academic paintings in Japanese students in Paris. Yamamoto Hosui, Kuroda Seiki and others assimilated various styles of paintings as academism, classicism, naturalism, from French masters like Gerome, Bonnat, Collin, Puvis de Chavannes, Bastien-Lepage, and then came back to Japan to be forerunners of western style painting in their own country.
The investigation of these three themes, studied not separately but in their mutual relations, could make clear an important and dynamic aspect of the artistic interrelations between France and Japan in the late 19^<th> century.
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