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At some point, Fenollosa, along with Bigelow, developed a close relationship with [[Homyo-in|Hômyô-in]], a small branch temple of [[Miidera]], just outside of Kyoto, residing there for short periods and donating personal items such as telescopes and globes to the temple. In [[1885]], Fenollosa and Bigelow received Buddhist monastic names from [[Sakurai Keitoku]] ([[1834]]-1885) of Hômyô-in; Fenollosa was granted the name Teishin.<ref>Plaques on-site at Fenollosa's grave at Hômyô-in.[https://www.flickr.com/photos/toranosuke/54270054972/sizes/h/]</ref>

At some point, Fenollosa, along with Bigelow, developed a close relationship with [[Homyo-in|Hômyô-in]], a small branch temple of [[Miidera]], just outside of Kyoto, residing there for short periods and donating personal items such as telescopes and globes to the temple. In [[1885]], Fenollosa and Bigelow received Buddhist monastic names from [[Sakurai Keitoku]] ([[1834]]-1885) of Hômyô-in; Fenollosa was granted the name Teishin.<ref>Plaques on-site at Fenollosa's grave at Hômyô-in.[https://www.flickr.com/photos/toranosuke/54270054972/sizes/h/]</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]], becoming the first curator of Oriental art at the [[Museum of Fine Arts, Boston]]. He divorced his first wife in [[1895]] and married Mary McNeil Fenollosa (née McNeill)<ref name=grave/> within the same year. This scandal led to him being ousted from his position at the Museum.<ref>"[https://arthistorians.info/fenollosae/ Fenollosa, Ernest Francisco]," ''Dictionary of Art Historians'', Lee Sorensen, ed. https://arthistorians.info.</ref> Okakura would later be named to replace him. In the meantime, Fenollosa returned to Japan, where he and Okakura founded a new "Japan Painting Association" (''[[Nihon Kaiga Kyokai|Nihon Kaiga Kyôkai]]'').

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>