Frank Lloyd Wright’s Secret Career as a Japanese Art Dealer & How It Shaped His Architecture
Frank Lloyd Wright was often strapped for cash. In that respect, he had something in common with Vincent van Gogh, who passed most of his much shorter life in more dire circumstances. Unlike Wright, who enjoyed decades of fame at the pinnacle of the American architectural profession, van Gogh remained practically unknown until after his death. But if they’ve encountered one another in the afterlife, they’ve certainly discussed one subject above all others: their shared appreciation for Japanese woodblock prints. Here on Open Culture, we’ve previously featured the collection of 500 such works of art that van Gogh left behind. At the end of Wright’s life in 1959, he owned about 6,000, many of which his estate had to sell to pay both Japanese art dealers and American tax collectors.
We could say that Wright died as he lived, advanced age having not evidently diminished either his financial recklessness or his obsession with ukiyo‑e. The masters of that classical “art of the floating world” like Hokusai and Hiroshige were among his favorite artists of any kind. When still a teenager, Wright went to work for the architect Joseph Silsbee, who’d built a chapel for his uncle.
“Silsbee’s cousin, Ernest Fenollosa, happened to be the world’s leading Western expert on Japanese art at the time,” writes Kevin Nute at The Conversation. It isn’t certain how well the young Wright knew Fenollosa — or indeed when he began collecting ukiyo‑e, writes Frank Lloyd Wright and the Art of Japan author Julia Meech-Pekarik, though he may have seen both Hokusai and Hiroshige’s works at the World’s Columbian Exposition in Chicago in 1893, “about the time he opened his practice in Oak Park.”
Eight years later, Wright made his first voyage
Eight years later, “Wright made his first voyage to Japan in pursuit of prints, and he did indeed return with enough expertise to stage an exhibition of his own Hiroshige collection at the Art Institute of Chicago in March of 1906.” He returned for two months in 1913, making it clear that he was only interested in using that time to acquire more prints. Later, while working on the Imperial Hotel between 1917 and 1922, he spent a total of more than three years there, later writing that “the pursuit of the Japanese print became my constant recreation while in Tokio,” a quest whose “adventures and excursions would take place at night or sometimes call for a journey by day to distant places.” This positioned him well to take on a sideline as a dealer (or as he liked to call himself, a merchant) of Japanese art in a United States only just becoming aware of its beauty — an especially advantageous condition in architecturally lean years.
Wright valued ukiyo‑e, about which he published a book in 1912, for its sense of order, structure, nature, and simplicity. “Five lines where three are enough is stupidity,” he wrote. “Nine pounds where three are sufficient is stupidity. But to eliminate expressive words that intensify or vivify meaning in speaking or writing is not simplicity.” In his own form, he understood full well that “expressive changes of surface, emphasis of line, and especially textures of material, may go to make facts eloquent — forms more significant.” But it was Hokusai, Hiroshige, and countless other commercial artists of that earlier time and distant land that changed his approach to building in the first place. “When I saw the print and I saw the elimination of the insignificant and simplicity of vision, together with the sense of rhythm and the importance of design, I began to see nature in a totally different way.” And thus, thanks to Japanese art, did that most American of all architects begin taking shape.
Download Vincent van Gogh’s Collection of 500 Japanese Prints, Which Inspired Him to Create “the Art of the Future”
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A Virtual Tour of Frank Lloyd Wright’s Lost Japanese Masterpiece, the Imperial Hotel in Tokyo
The Evolution of Hokusai’s Great Wave: A Study of 113 Known Copies of the Iconic Woodblock Print
How Frank Lloyd Wright Became Frank Lloyd Wright: A Video Introduction
Download 215,000 Japanese Woodblock Prints by Masters Spanning the Tradition’s 350-Year History
Enter a Digital Archive of 213,000+ Beautiful Japanese
Enter a Digital Archive of 213,000+ Beautiful Japanese Woodblock Prints
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. He’s the author of the newsletter Books on Cities as well as the books 한국 요약 금지 (No Summarizing Korea) and Korean Newtro. Follow him on the social network formerly known as Twitter at @colinmarshall.
Source: www.openculture.com
