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166:. In the late 1870s he opened a shop selling Japanese art objects and travelled to the Far East to study art in 1880. He developed connections with art sources in Japan and amassed what was considered one of the finest Japanese art collections in the West. He desired to spread word of Japanese aesthetics to a broad public, and used his wealth and connections to populate a new magazine to this end.
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The magazine benefited Bing as a dealer, as prices for
Japanese artworks rose with awareness of their value; this was one aim of Bing's, and he attracted some criticism for it. The magazine's reproductions served as models to Western graphic designers.
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The wealthy collector and dealer Bing had placed himself at the centre of
Japanese art circles in Paris; where he had relocated from Hamburg in Germany to take over a branch of the family business dealing in imports of
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rated it "among the highest class of art-journal". The established reputations of the contributing writers to which Bing had access contributed to the magazine's quick acceptance as an authority.
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was a major force in solidifying the valued position
Japanese art was to have in the West. The aesthetic quality of the magazine itself won lasting recognition; in 1906
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The magazine aimed to educate the public, and enjoyed high-quality printing featuring reproductions drawn from private collections. Each issue had several colour
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newspaper ran regular denigrating reviews of the magazine's reproduction and writing quality and Bing's understanding of
Japanese history and society.
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expressed hope that the magazine would rekindle an appreciation of its true aesthetic qualities in the face of its brimming commercialization. The
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widely reviewed. It received positive reviews throughout the West, as far away as
Scandinavia and the US. The London-based periodical
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130:. It ran for thirty-six monthly issues from 1888 to 1891 in French, English, and German editions and contributed to a revival of
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Art critics and collectors in Europe spearheaded a craze for
Japanese art in the late 19th century; prominent promoters of this
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The vogue for
Japanese art had reached a peak by the time the magazine appeared. French artist and collector of Japanese art
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200:, drawn from Bing's wide circle of acquaintances in the art world. The articles examined a wide variety of Japanese arts:
224:. Bing also drew attention to the high aesthetic quality of everyday objects such as combs, tea ladles, and fabrics.
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prints. It featured essays on
Japanese art and art history by critics such as Burty, de Goncourt, and
181:(1843–1915), to translate and print a German-language edition of the magazine. The English art dealer
158:(1838–1905). Burty made an attempt at a magazine devoted to Japanese art that lasted a single issue.
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185:(1845–1922) handled publication of an English-language that also circulated in the United States.
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Weisberg, Gabriel P. (Spring 1986), "On
Understanding Artistic Japan",
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Japan, France, and East-West
Aesthetics: French Literature, 1867–2000
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praised its first issue's "attractiveness". The American
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of reproductions of Japanese artwork such as paintings or
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32:December 1889 French edition
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228:Reception and legacy
613:Le Japon artistique
439:, pp. 186–187.
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263:Gabriel P. Weisberg
183:Marcus Bourne Huish
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20:Le Japon artistique
265:has asserted that
210:woodblock printing
148:Edmond de Goncourt
122:was a magazine of
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610:Media related to
529:978-0-8386-4010-4
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255:Japan Weekly Mail
179:Justus Brinckmann
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152:Philippe Burty
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271:Gustav Klimt
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594:Visual arts
509:Works cited
239:The Academy
216:, and even
198:Louis Gonse
170:Publication
150:(1822–96),
74:Final issue
66:First issue
623:Categories
277:References
244:The Critic
138:Background
48:Categories
649:Japonisme
146:included
58:Frequency
206:painting
144:Japonism
132:Japonism
82:Language
568:Portals
559:1503900
222:theatre
214:pottery
194:ukiyo-e
88:English
61:Monthly
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218:poetry
112:kimono
94:German
91:French
38:Editor
582:Japan
555:JSTOR
110:in a
524:ISBN
220:and
77:1891
69:1888
547:doi
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