ABSTRACT
Japanese art has been a feature of the Venice Biennale since 1897, when a discrete collection of Japanese decorative arts was exhibited by a German collector. In 1897, following the success of the inaugural Venice International Exhibition of Art, there was a distinct absence of artistic production from outside of Europe or America. The Venice Biennale sought to expand its audience by including more than purely Italian art through the inclusion of foreign artists designed to tempt foreign visitors to the exhibition. Japan’s iconic status as a culture isolated from the rest of the world during the Eno period held great appeal for Europeans. Correspondence between Venice and Japan continued until commitment was made in 1955 with a letter from the secretary general dated May 13. The funding was finally consolidated when the government committed to ¥3 million, and Mr. Shojiro Ishibashi provided an unspecified contribution that would provide sufficient funds to complete the pavilion.
