{"title":"日本西方艺术史上的希腊","authors":"Keiko Ozaki","doi":"10.15366/RHA2020.17.004","DOIUrl":null,"url":null,"abstract":"The Ohara Museum of Art in Japan preserves The Annunciation by El Greco, which was purchased on 1922 in Paris. During the Meiji era (1868-1912), the Japanese painters with western style focused their attention on France as a pictorical reference. At the same time, the re-evaluation of El Greco began in France and gradually was spread throughout Europa. This paper attempts to show the historical itinerary in which those Japanese painters discovered El Greco through their contemporary French painters and, finally, came to interpret El Greco’s works by their own context.","PeriodicalId":40739,"journal":{"name":"Revista Historia Autonoma","volume":"1 1","pages":"75-91"},"PeriodicalIF":0.3000,"publicationDate":"2020-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"El Greco en la historia del arte occidental en Japón\",\"authors\":\"Keiko Ozaki\",\"doi\":\"10.15366/RHA2020.17.004\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The Ohara Museum of Art in Japan preserves The Annunciation by El Greco, which was purchased on 1922 in Paris. During the Meiji era (1868-1912), the Japanese painters with western style focused their attention on France as a pictorical reference. At the same time, the re-evaluation of El Greco began in France and gradually was spread throughout Europa. This paper attempts to show the historical itinerary in which those Japanese painters discovered El Greco through their contemporary French painters and, finally, came to interpret El Greco’s works by their own context.\",\"PeriodicalId\":40739,\"journal\":{\"name\":\"Revista Historia Autonoma\",\"volume\":\"1 1\",\"pages\":\"75-91\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2020-09-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Revista Historia Autonoma\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.15366/RHA2020.17.004\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"HISTORY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Revista Historia Autonoma","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15366/RHA2020.17.004","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"HISTORY","Score":null,"Total":0}
El Greco en la historia del arte occidental en Japón
The Ohara Museum of Art in Japan preserves The Annunciation by El Greco, which was purchased on 1922 in Paris. During the Meiji era (1868-1912), the Japanese painters with western style focused their attention on France as a pictorical reference. At the same time, the re-evaluation of El Greco began in France and gradually was spread throughout Europa. This paper attempts to show the historical itinerary in which those Japanese painters discovered El Greco through their contemporary French painters and, finally, came to interpret El Greco’s works by their own context.