Professor for Japanese Art and Cultural Heritage

Toshio Watanabe

Toshio Watanabe is Professor of Japanese Arts and Cultures at the Sainsbury Institute for the Study of Japanese Arts and Cultures and is former Director of Research Centre for Transnational Art, Identity and Nation (TrAIN) of the University of the Arts London.

Toshio Watanabe is a researcher and university professor based in England since 1977, shortly after completing his doctorate at the University of Basel, Switzerland. He founded the Research Centre for Transnational Art, Identity and Nation (TrAIN) at the University of Arts London in 2004. Key publications include Ruskin in Japan 1890-1940: Nature for Art, Art for Life (Gen. Ed.), Koriyama City Museum of Art, 1997. (Winner of 1998 Japan Festival Prize and of 1999 Gesner Gold Award). He is currently Vice-President of Comité International d’Histoire de l’Art (CIHA) Bureau and a member of the Advisory Board for Tate Research Centre: Asia-Pacific.


64 The Close, Norwich NR1 4DH , United Kingdom
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(Ed. with Eriko Tomizawa-Kay), East Asian Art History in Transnational Context (In preparation)

(Gen. Ed.), Ruskin in Japan 1890-1940: Nature for art, art for life, Cogito: Tokyo, 1997
[Winner of 1998 Japan Festival Prize and of 1999 Gesner Gold Award]

(Ed. with Tomoko Satō), Japan and Britain: An Aesthetic Dialogue 1850-1930, Barbican Art Gallery: London, 1991. Japanese edition 1992.

High Victorian Japonisme, Peter Lang, Berne, 1991.
[Winner of the 1992 Prize of the Society for the Study of Japonisme, Tokyo.]

Paul Klee, Kōdansha: Tokyo, 1981; revised second edition 1996 [In Japanese]

Turner's Watercolors and Drawings, Kōdansha: Tokyo, 1978 [In Japanese]

Selected Articles

2016. A Kyoto garden renewal? From Meiji to early Showa period. In: Pitelaka, M. and Tseng, A. Y. (eds.) Kyoto visual Culture in the Early Edo and Meiji Periods, London and New York: Routledge, 163-181.

2015. Alfred Parsons, RA, PRWS (1847-1920) and the Japanese Watercolour Movement. In: Cortazzi, H. ed. Britain & Japan: Biographical Portraits, vol. 9. Leiden and Boston: Global Oriental

2014. The Art Historical Canon and the Transnational. In: Grossmann, G. U. & Krutisch, P. (eds.) The Challenge of the Object, Nuremberg: Germanisches National Museum.

2013. Rinpa and Japonisme. In: Shimohara, M. (ed.) Reconsidering Early Modern Yamato-e: Perspectives from Japan, the UK, and the USA. Brücke, Tokyo

2013. Josiah Conder (1852-1920). In: Cortazzi, H. ed. Britain & Japan: Biographical Portraits, vol. 8. Leiden and Boston: Global Oriental

2013. 1910 Japan-British Exhibition and the Art of Britain and Japan. In: Hotta-Lister, A. & Nish, I. eds. Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives. Leiden and Boston: Global Oriental

2012. Modern Japanese Garden. In: Rimer, T. (ed.) Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000, Honolulu: University of Hawai’i Press

2012. Forgotten Japonisme. In: Cabañas Moreno, P & Trujillo Dennis, A (eds.) La creación artistica como puente entre Oriente y Occidente, Madrid: Grupo de Investigación Completense Arte de Asia, Grupo de Investigación ASIA (CD publication)

2010. Why censor a nude painting? Kuroda Seiki and the nude painting controversy. In: Murakami-Giroux, S et al (eds.) Censure, Autocensure et Tabous, Editions, Arle: Philippe Picquier

2007. Loss of historicity as Identity: The Theory of Japanese Garden by Josiah Conder. In: Inaga, S (ed.) Traditional Japanese Arts and Crafts in the 21st Century: Reconsidering the Future from an International Perspective, Kyoto: International Research Center for Japanese Studies

2007. Vicissitudes of the value of Englishness in 19th century Hamburg: Nikolaikirche, the Town Hall and the Waterworks. Arte & Ensaios special issue: 'Transnational Correspondence', Rio de Janeiro: PPGAV-UFRJ, no. 14.

2007. Japanese Landscape Painting and Taiwan: Modernity, Colonialism and National Identity. In: Kikuchi, Y. (ed.) Refracted Colonial Modernity: Taiwanese Art and Design, Honolulu: University of Hawai'i Press.

2006. Japanese Imperial Architecture: From Thomas Roger Smith to Itō Chūta. In: Conant, E. P. (ed.) Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art, Honolulu: University of Hawai'i Press.

2002. (With Yuko Kikuchi) The British Discovery of Japanese Art. In: Daniels, G. & Tsuzuki, C. (eds.) The History of Anglo-Japanese Relations 1600-2000, vol.5, Social and Cultural Perspectives, Basingstoke and New York: Palgrave Macmillan, 146-170

2000. Britain: From Gothic Revival to Japanese Gardens. In: Society for the Study of Japonisme (ed.), Introduction to Japonisme, Shibunkaku Shuppan: Kyoto, 69-89. [In Japanese]

1996. Josiah Conder’s Rokumeikan: architecture and national representation in Meiji Japan, Art Journal, 55, 3, 1996. 21-27

1994. Pre-Raphaelite Japonisme? Enthusiasm for and ambivalence towards a new culture, Journal of Pre-Raphaelite Studies, New Series 3:2, Fall, 2-7

1994. Owen Jones’ The Grammar of Ornament: Orientalism subverted?. Aachener Kunstblätter, 60, 439-442 [Also in Daidalos (Berlin), 54, 1994, 84-93 in English and German]

1993. Vernacular Expression or Western Style? Josiah Conder and the beginning of modern architectural design in Japan. In: Gordon Bow, N. (ed.) Art and the National Dream: The Search for vernacular Expression in Turn-of-the-Century Design, Blackrock, Co. Dublin: Irish Academy Press, 43-52

1992. The Theory of Western-style Architecture in the Orient: Josiah Conder and Thomas Roger Smith. In: Meiji Bijutsu Gakkai (ed.) Modern Japanese Art and the West, Tokyo: Chūō Kōron Bijutsu Shuppan, 169-179 [In Japanese]

1986. Eishi Prints in Whistler’s Studio? Eighteenth-century Japanese prints in the West before 1870. Burlington Magazine, 128, 1005, 874-880

1984. The Western Image of Japanese Art in the late Edo Period. Modern Asian Studies, 18, 4, 667-684

1982. Namban Lacquer Shrines: Some New Discoveries. In: Watson, W. (ed.) Lacquerwork in Asia and Beyond, London: Perceval David Foundation, University of London, 194-210