Challenges the gender dynamics of conventional histories of Japanism that retroactively privilege avant-garde artists over bachelor collectors and the female dealer who was arguably the first japoniste. It examines three paradigmatic Japanist spaces in 19th-century Paris, all bachelor quarters. Henri Cernuschi’s house-museum, which frames artifacts from East Asia in an architecture redolent of Italian-inflected Enlightenment values, is now the museum of Asian art of the City of Paris. The Goncourt brothers’ house is famous as a model of Aesthetic domesticity. Hugues Krafft’s zashiki, imported from Japan, and its extensive Japanese gardens was an important site for Parisians interested in Japan.
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