Associate Professor of Art, College of Liberal Arts
Victoria Weston is a specialist in Meiji-period traditional schools of Japanese painting (nihonga). Through the 1870s and 1880s, Japan embarked upon an concerted program of modernization that followed technological, political, and cultural patterns established in the West. Professor Weston has focused her work on Okakura Kakuzō and the Tokyo painters he worked with to explore how stylistic and thematic choices were responses to their times. Some of these figures traveled to the United States, including Boston, during the early 1900s, a topic for which Professor Weston has done a great deal of primary research.
Professor Weston’s publications include: Portugal, Jesuits, and Japan: Spiritual Beliefs and Earthly Goods, editor (Chicago: University of Chicago Press for the McMullen Museum of Art, Boston College, 2013); Japanese Painting and National Identity: Okakura Tenshin and his Circle (Ann Arbor: Center for Japanese Studies, University of Michigan, 2004), Copying the Master and Stealing his Secrets: Talent and Training in Japanese Painting, co-edited with Brenda Jordan (Honolulu: University of Hawai’i Press, 2003), and East Meets West: Isabella Stewart Gardner and Okakura Kakuzo (Boston: Isabella Stewart Gardner Museum, 1993).
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Professor Weston’s publications include: Portugal, Jesuits, and Japan: Spiritual Beliefs and Earthly Goods, editor (Chicago: University of Chicago Press for the McMullen Museum of Art, Boston College, 2013); Japanese Painting and National Identity: Okakura Tenshin and his Circle (Ann Arbor: Center for Japanese Studies, University of Michigan, 2004), Copying the Master and Stealing his Secrets: Talent and Training in Japanese Painting, co-edited with Brenda Jordan (Honolulu: University of Hawai’i Press, 2003), and East Meets West: Isabella Stewart Gardner and Okakura Kakuzo (Boston: Isabella Stewart Gardner Museum, 1993).
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About Victoria Weston-Hayao
Victoria Weston is a specialist in Meiji-period traditional schools of Japanese painting (nihonga). Through the 1870s and 1880s, Japan embarked upon an concerted program of modernization that followed technological, political, and cultural patterns established in the West. Professor Weston has focused her work on Okakura Kakuzō and the Tokyo painters he worked with to explore how stylistic and thematic choices were responses to their times. Some of these figures traveled to the United States, including Boston, during the early 1900s, a topic for which Professor Weston has done a great deal of primary research.
Professor Weston’s publications include: Portugal, Jesuits, and Japan: Spiritual Beliefs and Earthly Goods, editor (Chicago: University of Chicago Press for the McMullen Museum of Art, Boston College, 2013); Japanese Painting and National Identity: Okakura Tenshin and his Circle (Ann Arbor: Center for Japanese Studies, University of Michigan, 2004), Copying the Master and Stealing his Secrets: Talent and Training in Japanese Painting, co-edited with Brenda Jordan (Honolulu: University of Hawai’i Press, 2003), and East Meets West: Isabella Stewart Gardner and Okakura Kakuzo (Boston: Isabella Stewart Gardner Museum, 1993).
Professor Weston’s publications include: Portugal, Jesuits, and Japan: Spiritual Beliefs and Earthly Goods, editor (Chicago: University of Chicago Press for the McMullen Museum of Art, Boston College, 2013); Japanese Painting and National Identity: Okakura Tenshin and his Circle (Ann Arbor: Center for Japanese Studies, University of Michigan, 2004), Copying the Master and Stealing his Secrets: Talent and Training in Japanese Painting, co-edited with Brenda Jordan (Honolulu: University of Hawai’i Press, 2003), and East Meets West: Isabella Stewart Gardner and Okakura Kakuzo (Boston: Isabella Stewart Gardner Museum, 1993).
| Present | Associate Professor of Art, College of Liberal Arts, University of Massachusetts Boston | |
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