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Japanism is the influence of art of Japan in the late nineteenth century on those of the West which developed initially from French Japonisme It brings out an Aesthetic Movement which was attentively related to the general development of the European and American interest in aesthetics and decorative design during the second half of the nineteenth century This movement has immersed on a conception of beauty as a universal idea which goes beyond both the ethnic and social boundaries This approach assembled with a well-established popular affection for the exotic led to the art and artefacts of non-western cultures as well as those of the Far East in particular gradually to be overlooking as the legitimate source of inspiration for the designers and artist in the West In response to the increasing consequential of the European interest in the freshly opened Japan market invigorated by the Japanese presence at the London Exhibition in 1862 and at the subsequent Paris and Vienna Expositions in 1867 and 1873 a massive flow of Japanese artefacts had begun alighting in the capitals of Europe The early American interest in Japanese art had been mainly restricted to a comparatively small group of specialist collectors and artist in the metropolis Yet the architectural impact of the Japanese exhibit at the 1876 Philadelphia Centennial Exposition was immediate and widespread and was to change everything its Japanese building in particular were to have an enduring impact happened to be remained as a permanent gifts to the city Frank Lloyd Wright had acknowledge an influential philosophical debt to Japanese art and to the wood-block print specifically whilst he authentically denied assumptions that Japanese architecture had any direct influence on his work Wright declared that what he found in the Japanese culture is not the inspiration which many presumed but purely the recognition of many his own organic design principles Wrights appreciation of Japanese aesthetic ideals from any use of Japanese forms
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