A Working Bibliography - The University of Sydney

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Clark, John, ‘Artist and the State: The Image of China in Japanese Painting, 1890s - 1940s’, in Elise Tipton, ed.,
Society and the State in Interwar Japan, London, Routledge, 1997.
Clark, John, ‘Modernités, Histoires; le cas Japonais’, translated in Belleter, Harry, ed., Face à l’Histoire, Paris, Centre
Georges Pompidou, 1996.
Conant, E.P., ‘Principles and Pragmatism: The Yatoi in the Field of Art’, in Beauchamp, E.R. & Iriye, eds., Foreign
Employees in Nineteenth Century Japan, Boulder & London, Westview Press, 1990.
Conroy H., et al, Japan in Transition: Thought and Action in the Meiji Era, Farleigh Dickson University Press, 1984
Development of Western Realism in Japan, I, Tôkyô, National Museum of Modern Art, 1985
Fontanesi, Ragusa e l’arte giapponese nel primo periodo Meiji, Tôkyô, National Museum of Modern Art, 1977
Georges Bigot: Il y a cent ans un artiste francais au Japon, Tôkyô,Yomiuri Shimbun, 1987
Guiterrez,F., ‘Artistic trends of the Meiji Period’, in Skrypczak, E. Japan’s Modern Century, Tôkyô, Tuttle, 1968
Guth, C.,M.,E., ‘Japan 1868-1945: art, architecture, and national identity’, Art Journal, vol.55, no.3, Fall 1996.
Guth, Christine M. E., ‘Takamura Kôun and Takamura Kôtarô: on being a sculptor’ in Takeuchi, Melinda, ed.,
The artist as professional in Japan, Stanford, Stanford University Press, 2004.
Guth, Christine M.E., ‘Charles Longfellow and Okakura Kakuz : Cultural Cross-Dressing in the Colonial
Context’, in positions: east asia cultures critique, volume 8, number 3 (winter 2000), pp. 605-636
Haga, T., ‘The Formation of Realism in Meiji Painting: The Career of Takahashi Yûichi’, in Shively, D., Tradition
and Modernization in Japanese Culture, Princeton, Princeton University Press, 1971
Harada, M., Meiji Western Painting, Tôkyô, Weatherhill, 1974
Inaga, Shigemi, ‘Théodore Duret et Japon’, Revue de l ‘Art, no.79, 1988.
Inaga, Shigemi, ‘La réinterpretation de la perspective linéaire au Japon (1740-1830) et son retour en France
(1860-1910)’, Actes de la Recherche en sciences sociales, no.49, septembre 1983.
Inaga, Shigemi, ‘L’orientalisme en peinture: representation de l’autre et ses limites’, in Hignonnet, Margaret R.,
Jones, Sumie, eds. Visions of the Other, Tokyo, Proceedings of the International Comparative Literature
Association, 1991.
Inaga, Shigemi, ‘De l’artisan à l’artiste au seuil de la modernité japonaise, ou l’implantation de la notion des
Beaux-Arts au Japan’, Sociologie de l’Art, no.8, 1995.
Khalili, Nasser, D. et al, Meiji no Takara: Treasures of Imperial Japan, [I: Selected Essays; II: Metalwork; III:Enamels;
IV: Lacquer; V: Ceramics] London, The Kibo Foundation, 1995.
Kawakita, M., ‘Western Influence on Japanese Painting and Sculpture’ inYamada, C., ed. Dialogue in Art:Japan and
the West, Tôkyô, Kôdansha, 1976
Kornicki, P.F., ‘Public display and changing values: early Meiji exhibitions and their precursors’, Monumenta
Nipponica, vol.49, no.2, 1994.
Modern Japanese Art and The West, International Symposium, Tokyo November 28-30, 1988, Meiji Bijutsu Gakkai,
1992, [largely in Japanese but with essays on Kunisada (Timothy Clark), Kyoto Painting (Ellen Conant),
Japonisme (Christine Shimizu), and Art Criticism (Thomas Rimer) in English: Fisher East Asian: 6047]
Munson, Todd, S., ‘A tempestuous tea-port: socio-political commentary in Yokohama-e, 1859-62’, East Asian
History, no.24, December 2002.
Realistic Representation III: Painting in Japan 1884-1907, Tôkyô, National Museum of Modern Art, 1988
Rosenfield, J., ‘Western Style Painting in the Early Meiji Period and its Critics’, see Haga this section.
Screech, Timon, The Shogun’s Painted Culture: Fear and Creativity in the Japanese States, 1760-1829, London: Reaktion
Books, 2000
Uyeno, N., Japanese Arts and Crafts in the Meiji Era, Tôkyô, Tôyô Bunko, 1958
Weisenfeld, G., ed., ‘Visual cultures of Japanese Imperialism’, special issue of positions east asia cultures critique, vol.8,
no.3, winter 2000, including: Guth Christine M.E., ‘Charles Longfellow and Okakura Kakuzô: cultural
cross-dressing in the colonial context; Sand, Jordan, ‘Was Meiji taste in interiors “Orientalist”?’; Christ,
Carol Ann, ‘ “The sole guardians of the art inheritance of Asia”: Japan at the 1904 St. Louis World’s Fair’;
Brandt, Kim, ‘Objects of desire: Japanese collectors and colonial Korea’; Weisenfeld, Gennifer, ‘Touring
Japan-as-museum: NIPPON and other Japanese imperialist travelogues’; Wendelken, Cherie,
‘Pan-Asianism and the pure Japanese thing: Japanese identity and architecture in the late 1930s’.
Nihonga: Painting in ‘Traditional’ Japanese Style since Meiji
Brooks, Van Wyck, Fenollosa and His Circle, New York, Dutton, 1962
Chisholm, L.W., Fenollosa: the Far East and American Culture, New Haven, Yale University Press, 1962.
Christ, Carol Ann, ‘ “The sole guardians of the art inheritance of Asia”: Japan at the 1904 St. Louis World’s Fair’,
positions: east asian cultures critique, vol.8, no.3, winter 2000.