Lot Essay
Japanese imploring a Divinity is unique in Gérôme's oeuvre and distinguishes itself as being Gérôme's only composition based on a Japanese subject. A consummate traveler who visited North Africa and Asia Minor for extensive sojourns, Gérôme never ventured to the exotic lands of the Far East. He was probably inspired to paint this scene of a refined religious ceremony by Henry Humphrey Moore, his student, who had returned to Paris from a three year visit to Japan in 1883 or 1884. The series of small genre scenes of Japanese life that Moore brought back with him caused a small sensation when they were exhibited. Moore's paintings and his enthusiasm for the country were an inspiration for Gérôme, who painted Japanese imploring a Divinity at this time.
In Japanese imploring a Divinity, Gérôme supports the aesthetic reputation of the Japanese culture: its respect of nature, delicate color sense, splendid clothing, accessories, and love of ceremony. Unlike his earlier Orientalist compositions which were based on direct observation, the painting gives us a rare glimpse of his fertile artistic vision and imagination. The theme of prayer is one that Gérôme had depicted often in his Orientalist works. Moreover Japanese imploring a Divinity indicates an affinity to his earlier works in its emphasis on composition and rich coloration. The canvas is noteworthy for the sensitive capturing of the coloration of a precise time of day, the splendid relfected light on the flagstones and the staircase, the tightness with which the costume of the worshiper is depicted, the contrast between bright and muted colors, and for its ethnographic naiveté. Gérôme has set the scene at sunset, a time he loved and enjoyed painting, when the last gentle rays of the descending sun hit only the tops of trees and monuments, while the world below persists in a glowing clarity without shadows and the cold colors deepen and become mute foils for the now strident hot colors--the red of the cherry blossoms, the orange of the offering flowers, and the pink of the high, flowering tree.
Japanese Imploring a Divinity never went into commerce, but stayed in Gérôme's house in the Boulevard de Clichy, where it was listed in the inventory taken after his death in 1904. In preparation for this painting, he had made a small oil sketch which he had given to his friend, the set designer, Marcel Jambon. Almost all the elements of the finished work are in the sketch; only the staircase has been altered by being divided into two flights with an intervening landing.
We are grateful to Professor Gerald Ackerman for his assistance in preparing this catalogue entry.
In Japanese imploring a Divinity, Gérôme supports the aesthetic reputation of the Japanese culture: its respect of nature, delicate color sense, splendid clothing, accessories, and love of ceremony. Unlike his earlier Orientalist compositions which were based on direct observation, the painting gives us a rare glimpse of his fertile artistic vision and imagination. The theme of prayer is one that Gérôme had depicted often in his Orientalist works. Moreover Japanese imploring a Divinity indicates an affinity to his earlier works in its emphasis on composition and rich coloration. The canvas is noteworthy for the sensitive capturing of the coloration of a precise time of day, the splendid relfected light on the flagstones and the staircase, the tightness with which the costume of the worshiper is depicted, the contrast between bright and muted colors, and for its ethnographic naiveté. Gérôme has set the scene at sunset, a time he loved and enjoyed painting, when the last gentle rays of the descending sun hit only the tops of trees and monuments, while the world below persists in a glowing clarity without shadows and the cold colors deepen and become mute foils for the now strident hot colors--the red of the cherry blossoms, the orange of the offering flowers, and the pink of the high, flowering tree.
Japanese Imploring a Divinity never went into commerce, but stayed in Gérôme's house in the Boulevard de Clichy, where it was listed in the inventory taken after his death in 1904. In preparation for this painting, he had made a small oil sketch which he had given to his friend, the set designer, Marcel Jambon. Almost all the elements of the finished work are in the sketch; only the staircase has been altered by being divided into two flights with an intervening landing.
We are grateful to Professor Gerald Ackerman for his assistance in preparing this catalogue entry.