enjoyed the Korin or Rinpa style of painting. Binyon's published works also helped to showcase a new Oriental based worldview, rather than espousing a eurocentric one; for example Binyon explains how the 'Japanese look to China as we look to Italy and Greece : [that] for them it is the classic land, the source from which their art has drawn not only methods, materials, and principles of design, but an endless variety of theme and motive.' My chief concern has been, not to discuss questions of authorship or archaeology, but to inquire what aesthetic value and significance these Eastern paintings possess for us in the West – Binyon (1913) With the advent of the further academic understanding of Japanese aesthetics, the Anglo-Japanese style ended, morphing into Modernism with the death of the 'Japan Craze' and Japanese art objects having become permanent parts of European and American Museum collections. Particularly this is noticeable in the sparsity or plain backgrounds in the work of Charles Rennie Mackintosh and the stage and costume design of Edward Gordon Craig. Bernard Leach also helped to inspire a return to more traditional craftsmanship in Japan with the Mingei movement in Japan and on pottery in England for William Staite Murray in his choice of materials. The Japanese Enclave Part of the new bilateral cultural exchange which replaced the one-way Anglo-Japanese Style by way of greater cultural understanding of Japanese Art and its history, came from the Japanese Community itself in London. For example; in 1900, Sadajirō Yamanaka open his London Branch of Yamanaka and Co. By 1902, a Japanese exhibition opened in Whitechapel, London, in which Charles Lewis Hind reviewed the watercolours of the Japanese artist working in London Yoshio Markino. Markino would go on to become a successful illustrator in Edwardian Britain, publishing illustrated works such as The Colour of London(1907) and A Japanese Artist in London(1910). The writer Douglas Sladen also frequently collaborated with Markino in his publications. Between 1907 and 1910, Wakana Utagawa visits London to train in watercolour painting and showcase her traditional Japanese brush paintings. In 1911 Frank Brangwyn had begun to collaborate with various Japanese artists such as Ryuson Chuzo Matsuyama working in Edwardian England on woodblock printing techniques. Then in 1915, the Yamanaka gallery in London hosted the British Red Cross Loan Exhibition. These businessmen, taking advantage of improved international relations, set up shop in Europe and America. Dealers