ABSTRACT
An attempt is made here to take a general view of the cultural bridges that were made by painters, photographers and print-makers. By necessity it is only possible to use one or two examples to illustrate the whole. In this way some general points can be made. Many in Japan, proud of the Japanese painting tradition,1 resisted practices coming in from the West. No such difficulties faced the new art of photography, which the eager Japanese embraced with enthusiasm.2 At the same time the Japanese Ukiyo-e print,3 which had earlier helped to bridge the gap between East and West, and which had served Japan well but which was labour intensive, was doomed to disappear.
