The aim of my thesis is to explore how femininity was depicted in Nordic Japonaiserie paintings during the period from 1879 to 1890, and the role played by the fan motif in these depictions. I have used the concepts of japonaiserie and bibelotization to describe this type of painting motif. In my investigation, I have specifically analyzed seven paintings by four different Nordic artists: Richard Bergh, Albert Edelfelt, Jenny Nyström, and Elin Danielson. By relating these paintings to other Nordic works with similar motifs, I have examined them through various feminist theories, including Laura Mulvey’s theory of the sexualizing male gaze, a women’s historical perspective inspired by Carina Rech’s research, and a gender perspective. I have also focused on the depiction of women’s hands to analyze their interaction with the fan motif and their function in the image of femininity.In the first chapter, which contextualizes the phenomena of japonaiserie and bibelotization in relation to the development of the fan, it was revealed that this small accessory became intimately associated with women’s lives and fashion. The connection between women and the fan became so strong that the fan came to symbolize femininity and even the female body. Ultimately, the fan became an indispensable accessory for women in Europe, symbolizing the art of seduction and feminine elegance during the 18th and 19th centuries. This thesis also discusses how women played a significant role in popularizing Japonisme through their interest in consuming and collecting industrially manufactured Japanese items known as bibelots, which led to both japonaiserie and bibelotization being viewed as feminine phenomenas. During the latter half of the 19th century, the fan came to be seen as a bibelot and reflected women’s difficulty indistinguishing genuine art from industrialized copies. Through bibelotization and Japonisme, its association with femininity and its function as an ornament were reinforced. The feminization of japonaiserie, bibelotization, and the fan contributed to their devaluation by the end of the 19th century. The bourgeois interior was characterized by its abundance of Japan-inspired props, a collection style associated with the female consumption of bibelots for home decoration. This practice, perceived as feminine, was devalued since women were often considered frivolous, superficial, and more interested in home decoration and fashion trends than in a genuine intellectual interest in Japanese art.In the art studio chapter, it emerges that many Japan-inspired props were found in artist studio interiors. These Japan-inspired props were then depicted in Japonaiserie paintings that mirrored the aesthetics of bourgeois bibelotized interiors. The role of women in this bibelotization was also reflected in images of women surrounded by numerous Japanese bibelots. The fan motif, then regarded as a Japonaiserie ornamental item, further reinforced the connection between femininity and the Japonaiserie painting motif. In conclusion, the investigation shows that in the visual arts of the late 19th century, the fan motif was not only a symbol of femininity but also a reflection of contemporary traditional views on women and their roles.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-531025 |
| Date | January 2024 |
| Creators | Rossignol, Elisabeth |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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