Edwardian London Through Japanese Eyes considers the career of the Japanese artist Yoshio Markino (1869-1956), a prominent figure on the early twentieth-century London art scene whose popular illustrations of British life adroitly blended stylistic elements of East and West. He established his reputation with watercolors for the avant-garde Studio magazine and attained success with The Colour of London (1907), the book that offered, in word and picture, his outsider’s response to the modern Edwardian metropolis. Three years later he recounted his British experiences in an admired autobiography aptly titled A Japanese Artist in London. Here, and in later publications, Markino offered a distinctively Japanese perspective on European life that won him recognition and fame in a Britain that was actively engaging with pro-Western Meiji Japan. Based on a wide range of unpublished manuscripts and Edwardian commentary, this lavishly illustrated book provides a close examination of over 150 examples of his art as well analysis of his writings in English that covered topics as wide-ranging as the English and Japanese theater, women’s suffrage, current events in the Far East and observations on traditional Asian art as well as Western Post-Impressionism. Edwardian London Through Japanese Eyes, the first scholarly study of this neglected artist, demonstrates how Markino became an agent of cross-cultural understanding whose beautiful and accessible work provided fresh insights into the Anglo-Japanese relationship during the early years of the twentieth century.
Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britain’s national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellon’s extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Center’s collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner.
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