This is a beautifully written piece with gorgeous featured art. It’s a shame our culture is slipping away from sophistication enough to appreciate what’s happening here rather than be so busy censoring art. The geisha’s in natural environments are what push my awareness of using the impressionist technique on traditional subject matter.
I completely agree with you; it’s disheartening to see how quick some are to censor rather than pause and engage. The subtlety and softness of Impressionist technique paired with something as historically rich as the geisha creates such a layered dialogue. And yes, it’s frustrating (and disheartening) to see art so easily dismissed or censored instead of engaged with thoughtfully. We’re losing more than just images….we’re losing the conversations they’re meant to spark.
It's like 'fusion' In music, isn't it? Very interesting to see and understand. I think the reason I still react against it is to do with cultural hegemony, I'm still horrified by the British legacy of colonialism and also missionary activity; all those contexts where a culture was told that they were inferior and wrong, often with resulting apologetics and trying to prove they were equally worthy on their oppressor's terms. What's interesting about Japan, however (and I'm no expert on its history), is that my sense is that it's unlikely that the Japanese ever allowed any country or culture to make them feel inferior! The Japanese have always been supremely secure in their cultural identity.... So you're forcing me to look at this with fresh eyes. Though I personally still prefer the woodcut in @@LaMonica's note!
Absolutely agree. Fusion in art can stir up a lot of complicated feelings, especially when there’s a history of colonialism and cultures being told they were lesser. That context makes it hard not to be wary of how traditions are blended. But what’s so compelling about Japan is that it’s one of the few places where outside influence didn’t shake their cultural confidence....they took what came in and made it their own. So when we see something like Seiki’s Maiko, blending traditional subjects with Impressionist technique, or Van Gogh’s Oiran, a Western homage to ukiyo-e, it feels less like appropriation and more like a conversation across cultures. That continuity you pointed out, art that transcends borders, is so powerful. Sometimes the woodcut just hits harder, because it carries the weight of the original spirit.
This is a beautifully written piece with gorgeous featured art. It’s a shame our culture is slipping away from sophistication enough to appreciate what’s happening here rather than be so busy censoring art. The geisha’s in natural environments are what push my awareness of using the impressionist technique on traditional subject matter.
Thank you so much. That really means a lot🙏🏼
I completely agree with you; it’s disheartening to see how quick some are to censor rather than pause and engage. The subtlety and softness of Impressionist technique paired with something as historically rich as the geisha creates such a layered dialogue. And yes, it’s frustrating (and disheartening) to see art so easily dismissed or censored instead of engaged with thoughtfully. We’re losing more than just images….we’re losing the conversations they’re meant to spark.
It's like 'fusion' In music, isn't it? Very interesting to see and understand. I think the reason I still react against it is to do with cultural hegemony, I'm still horrified by the British legacy of colonialism and also missionary activity; all those contexts where a culture was told that they were inferior and wrong, often with resulting apologetics and trying to prove they were equally worthy on their oppressor's terms. What's interesting about Japan, however (and I'm no expert on its history), is that my sense is that it's unlikely that the Japanese ever allowed any country or culture to make them feel inferior! The Japanese have always been supremely secure in their cultural identity.... So you're forcing me to look at this with fresh eyes. Though I personally still prefer the woodcut in @@LaMonica's note!
Absolutely agree. Fusion in art can stir up a lot of complicated feelings, especially when there’s a history of colonialism and cultures being told they were lesser. That context makes it hard not to be wary of how traditions are blended. But what’s so compelling about Japan is that it’s one of the few places where outside influence didn’t shake their cultural confidence....they took what came in and made it their own. So when we see something like Seiki’s Maiko, blending traditional subjects with Impressionist technique, or Van Gogh’s Oiran, a Western homage to ukiyo-e, it feels less like appropriation and more like a conversation across cultures. That continuity you pointed out, art that transcends borders, is so powerful. Sometimes the woodcut just hits harder, because it carries the weight of the original spirit.