Contrasting examples of japonisme to artwork of the same period not inspired from japanese art

Left Image; "Bridge at Villeneuve-la-Garenne" - oil painting - c.1872 - Alfred Sisley

Middle Image; "Danseuses dans une salle d'exercice" - oil painting - c.1873 - Edgar Degas

Right Image; "Luncheon of the Boating Party" - oil painting - c.1881 - Pierre-Auguste Renoir

Here I've chosen some works from the same impressionist period of the late 19th century and early 20th century, including landscapes and portraits to show how both subjects differ from those pieces inspired by Japanese art. Some key factors that hint at pieces being inspired by Japanese art include bold colours, flat planes, dramatic stylisation and unusual expressions. All these examples below show no influence from Japan. There are no particular stylized elements to these paintings; they all include relatively muted colours, no common compositional elements, nor any blank, flat spaces in the imagery. The piece on the left illustrates no compositional elements taken from Japonisme, especially when comparing it to "The Water Lily Pond" which I have analysed below. The positioning of the bridge and river in Renoir's is rather different to Monet's and the bridge in this piece appears to be much more modern and not of the type you'd expect to find in Japanese works. There are also no elements of Japanese culture in contrast to Monet's Water Lily Pond series, where you can find cherry blossoms and water lilies etc. This may not be relative, as it could be down to the fact the landscapes they're both painting are just very different, but it is something worthy of noting nonetheless. As with the two portrait pieces below, the elements illustrated here are very different compared to those found in Cassat's "Maternal Caress" piece which I analyzed before. There is a lot more realism added in these two, which can be found in the depth of the pieces, with the density of the shadows and a much more interesting, detailed background, in contrast to the minimalist, rather flat and plain one seen in Cassat's work.