Like many other early 20th-century artistic movements, the Amsterdam School was greatly influenced by Asian cultures. The very binding of the magazine demonstrates this influence, as they are all in the Japanese style. There were also three separate issues dedicated to Asian art, all presented here.

Frank Lloyd Wright deeply admired Japan. In describing his Imperial Hotel, he expresses a reverence for Japanese art and culture and a commitment to honoring both with his design. In the two essays concerning his Hotel reprinted in Wendingen’s special issues, Louis Sullivan praises the structure of Wright's work as “a high act of courage – an utterance of man’s free spirit, a personal message to every soul that falters, and to every heart that hopes” (Sullivan, Complete Wendingen, 101). And it wasn’t just Sullivan who praised its construction: a contemporary booklet dubbed the hotel “The Jewel of the Orient” and describes how Wright “threw architectural conventions and traditions to the winds” and gave to Tokyo something that is “neither of the East nor of the West,” but a fusion of the two.

1. Wendingen vol. 4 no. 3, 1921, East Asian Art.
2. Wendingen vol. 2 no. 1, 1919, Eastern Art.
3. “The Jewel of the Orient: The Imperial Hotel, Tokyo.” (n.d.)
4. Wendingen vol. 7 no. 8, 1926, Frank Lloyd Wright, Special Issue 6.
5. Imperial Hotel, Tokyo, Japan. Color photomechanical prints.
6. Wendingen vol. 9 no. 5, 1928, Hindu-Javanese Sculpture.