Changes

*''Born: [[1853]] Feb 18''

*''Born: [[1853]] Feb 18''

*''Died: [[1908]] Sept 21''

*''Died: [[1908]] Sept 21''

Ernest Fenollosa was a late 19th century American art collector and early expert on Japanese art who, alongside [[Okakura Kakuzo|Okakura Kakuzô]], played key roles in both establishing the modern canonical understanding of Japanese art history and introducing it to the United States. His collection, along with those of a small handful of other individuals such as [[Edward Sylvester Morse]] and [[William Sturgis Bigelow]], formed the initial core of the Japanese art collection of the [[Museum of Fine Arts, Boston]].

Ernest Fenollosa was a late 19th century American art collector and early expert on Japanese art who, alongside [[Okakura Kakuzo|Okakura Kakuzô]], played key roles in both establishing the modern canonical understanding of Japanese art history and introducing it to the United States. His collection, along with those of a small handful of other individuals such as [[Edward Sylvester Morse]] and [[William Sturgis Bigelow]], formed the initial core of the Japanese art collection of the [[Museum of Fine Arts, Boston]].

Fenollosa also played a role in encouraging the development of ''[[Nihonga]]'', or neo-traditional Japanese painting. At a time when the prevailing culture in Japan was a powerful enthusiasm for Westernization, Fenollosa, Okakura, and others encouraged appreciation of Japan's own traditional culture, and the value of maintaining and adapting this into the modern era. He founded a Painting Appreciation Society, or ''[[Kangakai]]'' in [[1884]], which began holding formal painting competitions the following year, and guided artists such as [[Kano Hogai|Kanô Hôgai]] in incorporating Western elements of realism, perspective, and attention to light and shadow into traditional Japanese painting, developing what was at that time seen as a "national" painting style that could be celebrated as both decidedly Japanese, and modern.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; "[http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1902.225 Hibo Kannon]," Freer|Sackler online collections database, 2013.</ref>

Fenollosa also played a role in encouraging the development of ''[[Nihonga]]'', or neo-traditional Japanese painting. At a time when the prevailing culture in Japan was a powerful enthusiasm for Westernization, Fenollosa, Okakura, and others encouraged appreciation of Japan's own traditional culture, and the value of maintaining and adapting this into the modern era. He founded a Painting Appreciation Society, or ''[[Kangakai]]'' in [[1884]], which began holding formal painting competitions the following year, and guided artists such as [[Kano Hogai|Kanô Hôgai]] in incorporating Western elements of realism, perspective, and attention to light and shadow into traditional Japanese painting, developing what was at that time seen as a "national" painting style that could be celebrated as both decidedly Japanese, and modern.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; "[http://www.asia.si.edu/collections/singleObject.cfm?ObjectNumber=F1902.225 Hibo Kannon]," Freer|Sackler online collections database, 2013.</ref>

Fenollosa traveled with Okakura on a one-year art tour of the United States and Europe in [[1886]], before returning to Japan. He then returned to the United States in [[1890]]. He divorced his first wife in [[1895]], re-married that same year, and returned to Japan. His second wife was named Mary McNeil Fenollosa (née McNeill).<ref name=grave/> In [[1896]], he then co-founded a "Japan Painting Association" (''[[Nihon Kaiga Kyokai|Nihon Kaiga Kyôkai]]'') with Okakura.

Fenollosa traveled with Okakura on a one-year art tour of the United States and Europe in [[1886]], before returning to Japan. He then returned to the United States in [[1890]]. He divorced his first wife in [[1895]], re-married that same year, and returned to Japan. His second wife was named Mary McNeil Fenollosa (née McNeill).<ref name=grave/> In [[1896]], he then co-founded a "Japan Painting Association" (''[[Nihon Kaiga Kyokai|Nihon Kaiga Kyôkai]]'') with Okakura.

Following his death in [[1908]] (in [[London]], while on the way to Japan),<ref name=grave/> Fenollosa was buried at Hômyô-in, a small branch temple of [[Miidera]] in [[Otsu|Ôtsu]] ([[Shiga prefecture]]), where he had lived for a time. Figures such as Gaston Migeon, [[Laurence Binyon]], [[Arthur Wesley Dow]], and [[Charles Lang Freer]] donated funds for the gravestones. [[Ezra Pound]] was entrusted with editing and publishing a manuscript by Fenollosa on [[Noh]] theatre; the book, entitled ''Noh: or Accomplishment, a Study of the Classical Stage of Japan'', was significant in introducing Noh to the West following its publication in 1916.<ref>Gallery labels, "Ezra Pound," "At the Hawk's Well," Yokohama Triennale, 2014.</ref>

Following his death in [[1908]] (in [[London]], while on the way to Japan),<ref name=grave/> Fenollosa was buried at Hômyô-in, a small branch temple of [[Miidera]] in [[Otsu|Ôtsu]] ([[Shiga prefecture]]), where he had lived for a time. Figures such as Gaston Migeon, [[Laurence Binyon]], [[Arthur Wesley Dow]], and [[Charles Lang Freer]] donated funds for the gravestones. [[Ezra Pound]] was entrusted with editing and publishing a manuscript by Fenollosa on [[Noh]] theatre; the book, entitled ''Noh: or Accomplishment, a Study of the Classical Stage of Japan'', was significant in introducing Noh to the West following its publication in 1916.<ref>Gallery labels, "Ezra Pound," "At the Hawk's Well," Yokohama Triennale, 2014.</ref>