Japonisme/Europeanisme

In the course of this blog, I often use the word Japonisme, as a way of encapsulating the rejuvenating, electrifying effect that exposure to Japanese art and aesthetics had on European artists of the Impressionist and Post-Impressionist era. One of the first blogs I started to follow was Lily's Japonisme, which has remained a source of great value to me. The meaning of the word Japonisme can best be shown visually, perhaps by looking at this colour autolithograph by Henri Rivière (1864-1951).
Henri Rivière, Brume matinale (Matin de brume à Loguivy)Lithograph, 1903
But was Japonisme a one-way street, with European artists learning from the Japanese, and the Japanese going on their own sweet way? Of course not. Japanese artists were as eager to learn from the West as European artists were to learn from the East. Here is an example of what I mean, a modernist female nude by Kiyoshi Hasegawa (Hasegawa Kiyoshi, as it should be in Japanese convention). I think this is a wonderful piece of work, a machine age nude rather than an Art Deco one.
Kiyoshi Hasegawa, Femme nueEngraving, 1929
Kiyoshi Hasegawa was born in Yokohama in 1891. He moved to Paris alongside fellow Japanese artist Tsuguharu Foujita, and spent most of his life there, working in a Western style deeply influenced by the subtlety of line and feeling in Japanese art. I have to admit I don't know the precise dates at which Foujita and Hasegawa arrived in Paris, but I have a strong feeling that Foujita got there first, and that Hasegawa was always therefore second fiddle to his compatriot. Western influences on Hasegawa's work include Jean Laboureur and Jules Pascin. Hasegawa's prints are primarily engravings and mezzotints. He died in 1980. In 2005 the Yokohama Museum of Art received over 1000 items from the Paris atelier of Kiyoshi Hasegawa.