Difference between revisions of "Bibliography"
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=== MFA Publications === | === MFA Publications === | ||
| − | * '''"Characterization of Yellow and Red Natural Organic Colorants on Japanese Woodblock Prints by EEM Fluorescence Spectroscopy"''' by Michele Derrick, Richard Newman, and Joan Wright in ''JAIC'', 2017. [http://dx.doi.org/10.1080/01971360.2016.1275438 | + | * '''"Characterization of Yellow and Red Natural Organic Colorants on Japanese Woodblock Prints by EEM Fluorescence Spectroscopy"''' by Michele Derrick, Richard Newman, and Joan Wright in ''JAIC'', 2017. [http://dx.doi.org/10.1080/01971360.2016.1275438 Link] |
:Excitation–emission matrix (EEM), or 3D fluorescence spectroscopy, was used to characterize natural yellow and red organic colorants in 18th-century Japanese woodblock prints as part of a project designed to systematically identify the colorants. This analysis technique collected emission spectra in the visible region for a sequence of excitation wavelengths at 10 nm steps from 250 to 600 nm. The resultant data set provided characteristic excitation/emission patterns that were used to identify several natural colorants, including safflower, madder, sappanwood, gamboge, flavonoids, berberines, and turmeric. In combination with other non-sampling methodologies, including x-ray fluorescence (XRF) and fiber optic reflectance spectroscopy (FORS), most colorants on the prints were quickly and non-destructively characterized. Based on examination of 213 prints, several patterns of colorant use were observed. The prints often contained more than one yellow, red, or blue colorant. From 1781 to 1801, considered the Golden Age, it was common to find multiple types of yellows, reds, and blues on a single print. The colorant madder was identified on many of the prints, while gardenia and berberine-containing dyes were not found. This paper presents the theory, experimental parameters, and limitations of the EEM fluorescence technique. | :Excitation–emission matrix (EEM), or 3D fluorescence spectroscopy, was used to characterize natural yellow and red organic colorants in 18th-century Japanese woodblock prints as part of a project designed to systematically identify the colorants. This analysis technique collected emission spectra in the visible region for a sequence of excitation wavelengths at 10 nm steps from 250 to 600 nm. The resultant data set provided characteristic excitation/emission patterns that were used to identify several natural colorants, including safflower, madder, sappanwood, gamboge, flavonoids, berberines, and turmeric. In combination with other non-sampling methodologies, including x-ray fluorescence (XRF) and fiber optic reflectance spectroscopy (FORS), most colorants on the prints were quickly and non-destructively characterized. Based on examination of 213 prints, several patterns of colorant use were observed. The prints often contained more than one yellow, red, or blue colorant. From 1781 to 1801, considered the Golden Age, it was common to find multiple types of yellows, reds, and blues on a single print. The colorant madder was identified on many of the prints, while gardenia and berberine-containing dyes were not found. This paper presents the theory, experimental parameters, and limitations of the EEM fluorescence technique. | ||
| − | * '''"Plant Dye Identification in Japanese Woodblock prints"''' by Michele Derrick, Joan Wright, and Richard Newman in ''Arnoldia'' 74/3, February 2017. [http://arnoldia.arboretum.harvard.edu/pdf/articles/2017-74-3-plant-dye-identification-in-japanese-woodblock-prints.pdf | + | * '''"Plant Dye Identification in Japanese Woodblock prints"''' by Michele Derrick, Joan Wright, and Richard Newman in ''Arnoldia'' 74/3, February 2017. [http://arnoldia.arboretum.harvard.edu/pdf/articles/2017-74-3-plant-dye-identification-in-japanese-woodblock-prints.pdf PDF] |
:Three non-destructive analysis techniques were used in the analysis and identification of natural colorants used in the production of Japanese woodblock prints. X-ray fluorescence (XRF) was used to determine the presence of any inorganic compounds, and fiber optic reflectance spectroscopy (FORS) was used to distinguish between indigo and dayflower in the blue, green, and purple regions. A third technique, excitation emission matrix (EEM), or 3-D fluorescence spectroscopy, was used for the characterization of the red and yellow plant-based colorants. | :Three non-destructive analysis techniques were used in the analysis and identification of natural colorants used in the production of Japanese woodblock prints. X-ray fluorescence (XRF) was used to determine the presence of any inorganic compounds, and fiber optic reflectance spectroscopy (FORS) was used to distinguish between indigo and dayflower in the blue, green, and purple regions. A third technique, excitation emission matrix (EEM), or 3-D fluorescence spectroscopy, was used for the characterization of the red and yellow plant-based colorants. | ||
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=== Other Publications and Resources=== | === Other Publications and Resources=== | ||
| − | *'''On Japanese Pigments''' by Toyokichi Takamatsu, 1878. [https://libmma.contentdm.oclc.org/digital/collection/p16028coll4/id/23939/ | + | *'''On Japanese Pigments''' by Toyokichi Takamatsu, 1878. [https://libmma.contentdm.oclc.org/digital/collection/p16028coll4/id/23939/ Digital book] |
*'''Tokuno Gift''' at the National Museum of American History, 1889. [https://americanhistory.si.edu/collections/object-groups/tokuno-gift Museum website] | *'''Tokuno Gift''' at the National Museum of American History, 1889. [https://americanhistory.si.edu/collections/object-groups/tokuno-gift Museum website] | ||
| − | :A group of prints, woodblocks, tools and sample pigments that were gifted to the Smithsonian in 1889 by Michimasa Tokuno who was the head of the Japanese | + | :A group of prints, woodblocks, tools and sample pigments that were gifted to the Smithsonian in 1889 by Michimasa Tokuno who was the head of the Japanese bureau of engraving and printing. |
| − | *'''Nishikie no hori to suri''' by Kendo Ishii, 1929. In Japanese. A translation by Tim | + | *'''Nishikie no hori to suri''' by Kendo Ishii, 1929. In Japanese. A translation by Tim Clark is available. |
*'''Identification of traditional organic colorants employed in Japanese prints an determination of their rates of fading''' by Robert L. Feller, Mary Curran, and Catherine W. Bailie in "Japanese woodblock print: a catalogue of the Mary A. Ainsworth Collection, 1984" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA99207 AATA Getty] | *'''Identification of traditional organic colorants employed in Japanese prints an determination of their rates of fading''' by Robert L. Feller, Mary Curran, and Catherine W. Bailie in "Japanese woodblock print: a catalogue of the Mary A. Ainsworth Collection, 1984" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA99207 AATA Getty] | ||
| − | *'''The ozone fading of traditional Japanese colorants''' by Paul M. Whitmore and Glen R. Cass, 1998. [https://www.tandfonline.com/doi/abs/10.1179/sic.1988.33.1.29] | + | *'''The ozone fading of traditional Japanese colorants''' by Paul M. Whitmore and Glen R. Cass, 1998. [https://www.tandfonline.com/doi/abs/10.1179/sic.1988.33.1.29 Link] |
*'''Non-desctructive determination of colorants used in traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics''' by Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA14999 AATA Getty] | *'''Non-desctructive determination of colorants used in traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics''' by Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA14999 AATA Getty] | ||
*'''The connoisseruship problem of discolored lead pigments in Japanese woodblock prints''' by Judith Walsh, Barbarar H. Berrie and Michael Palmer in "IPC conference papers London, 1997: proceedings of the Fourth Internation Conference of the Institute of Paper Conservation, 6-9 April 1997, 1998" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110482 AATA Getty] | *'''The connoisseruship problem of discolored lead pigments in Japanese woodblock prints''' by Judith Walsh, Barbarar H. Berrie and Michael Palmer in "IPC conference papers London, 1997: proceedings of the Fourth Internation Conference of the Institute of Paper Conservation, 6-9 April 1997, 1998" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110482 AATA Getty] | ||
| + | |||
| + | *'''An electronic transmission analysis of metallic particles in nineteenth century Japanese woodblock prints''' by John Fiorillo, Richard Hashimoto, and Sarath Menon in "Andon", 2000. [https://www.societyforjapanesearts.org/andon-archive/andon-65 Link] | ||
*'''Seeing red: investigating Japanese woodblock prints and organic colorants using spectrophotometry''' by Michelle Facini at Papers presented at the 27th annual conference of ANAGPIC, April 19-21, 2001. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110206 AATA Getty] | *'''Seeing red: investigating Japanese woodblock prints and organic colorants using spectrophotometry''' by Michelle Facini at Papers presented at the 27th annual conference of ANAGPIC, April 19-21, 2001. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110206 AATA Getty] | ||
| − | *'''Review of MA Paper Conservation: Japanese prints''' by Shiho Sasaki [http://www.vam.ac.uk/content/journals/conservation-journal/issue-38/review-of-ma-paper-conservation-japanese-prints/ Museum website] | + | *'''Review of MA Paper Conservation: Japanese prints''' by Shiho Sasaki, 2001. [http://www.vam.ac.uk/content/journals/conservation-journal/issue-38/review-of-ma-paper-conservation-japanese-prints/ Museum website] |
| − | *'''A study of dayflower blue used in Ukiyo-e prints''' by Shiho Sasaki and Pauline Webber, 2002. [https://www.tandfonline.com/doi/abs/10.1179/sic.2002.47.s3.038] | + | *'''A study of dayflower blue used in Ukiyo-e prints''' by Shiho Sasaki and Pauline Webber, 2002. [https://www.tandfonline.com/doi/abs/10.1179/sic.2002.47.s3.038 Link] |
*'''Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer''' by Yasuko Noda and Susumu Shimoyama, 2002. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA45087 AATA Getty] | *'''Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer''' by Yasuko Noda and Susumu Shimoyama, 2002. [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA45087 AATA Getty] | ||
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*'''Color as language in traditional Japanese prints''' by Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA108088 AATA Getty] | *'''Color as language in traditional Japanese prints''' by Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA108088 AATA Getty] | ||
| − | *'''Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues''' by Betty Fiske and Linda Stiber Morenus, 2004. [https://cool.culturalheritage.org/coolaic/sg/bpg/annual/v23/ | + | *'''Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues''' by Betty Fiske and Linda Stiber Morenus, 2004. [https://cool.culturalheritage.org/coolaic/sg/bpg/annual/v23/bpga23-05.pdf PDF] |
*'''The identification and light sensitivity of Japanese woodblock print colorants: the impact on art history and preservation''' by Sandra A. Connors, Paul M. Whitmore, Roger S. Keyes, and Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107234 AATA Getty] | *'''The identification and light sensitivity of Japanese woodblock print colorants: the impact on art history and preservation''' by Sandra A. Connors, Paul M. Whitmore, Roger S. Keyes, and Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107234 AATA Getty] | ||
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*'''Dayflower blue: its appearance and lightfastness in traditional Japanese prints''' by Shiho Sasaki, Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107225 AATA Getty] | *'''Dayflower blue: its appearance and lightfastness in traditional Japanese prints''' by Shiho Sasaki, Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107225 AATA Getty] | ||
| − | *'''Hokusai and the blue revolution in Edo prints''' by Henry D. Smith in "Hokusai and his age: ukiyo-e painting, printmaking and book illustration in late Edo Japan, 2005" [http://www.columbia.edu/~hds2/pdf/2005_Hokusai_and_the_Blue_Revolution.pdf] | + | *'''Hokusai and the blue revolution in Edo prints''' by Henry D. Smith in "Hokusai and his age: ukiyo-e painting, printmaking and book illustration in late Edo Japan, 2005" [http://www.columbia.edu/~hds2/pdf/2005_Hokusai_and_the_Blue_Revolution.pdf PDF] |
| − | *'''Non-Destructive Identification of Blue Colorants in Ukiyoe Prints by Visible-Near Infrared Reflection Spectrum Obtained with a Portable Spectrophotometer Using Fiber Optics''' by Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006. [https://www.researchgate.net/publication/239412287_Non-Destructive_Identification_of_Blue_Colorants_in_Ukiyoe_Prints_by_Visible-Near_Infrared_Reflection_Spectrum_Obtained_with_a_Portable_Spectrophotometer_Using_Fiber_Optics] | + | *'''Non-Destructive Identification of Blue Colorants in Ukiyoe Prints by Visible-Near Infrared Reflection Spectrum Obtained with a Portable Spectrophotometer Using Fiber Optics''' by Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006. [https://www.researchgate.net/publication/239412287_Non-Destructive_Identification_of_Blue_Colorants_in_Ukiyoe_Prints_by_Visible-Near_Infrared_Reflection_Spectrum_Obtained_with_a_Portable_Spectrophotometer_Using_Fiber_Optics Link] |
| − | *'''Environmental Degradation vs. Artistic Intention: The Darkening of Lead Pigments on Japanese Woodblock Prints''' by Christina Finlyason, Aaron Shugar, and Judith Walsh, 2009. [https://www.academia.edu/4281355/Environmental_Degradation_vs._Artistic_Intention_The_Darkening_of_Lead_Pigments_on_Japanese_Woodblock_Prints_Finlayson_Shugar_and_Walsh_] | + | *'''Environmental Degradation vs. Artistic Intention: The Darkening of Lead Pigments on Japanese Woodblock Prints''' by Christina Finlyason, Aaron Shugar, and Judith Walsh, 2009. [https://www.academia.edu/4281355/Environmental_Degradation_vs._Artistic_Intention_The_Darkening_of_Lead_Pigments_on_Japanese_Woodblock_Prints_Finlayson_Shugar_and_Walsh_ Poster] |
| − | *'''Synthetic arsenic sulfides in Japanese prints of the Meiji period''' by Yanbing Lueo, Elena Basso, Henry D. Smith II, and Marco Leona, 2016. [https://link.springer.com/article/10.1186/s40494-016-0087-0] | + | *'''Synthetic arsenic sulfides in Japanese prints of the Meiji period''' by Yanbing Lueo, Elena Basso, Henry D. Smith II, and Marco Leona, 2016. [https://link.springer.com/article/10.1186/s40494-016-0087-0 Research article] |
*'''The Anatomy of Colors''' by Meguro Museum of Art, Tokyo, 2016. In Japanese. | *'''The Anatomy of Colors''' by Meguro Museum of Art, Tokyo, 2016. In Japanese. | ||
| − | *'''Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging''' by Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012. [ | + | *'''Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging''' by Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012. [https://www.culturalheritage.org/docs/default-source/annualmeeting/5-characterizationoftraditional.pdf?sfvrsn=2 Poster] |
*'''View of Shogetsu Pond by Eisen Keisei''' by Elyse Driscoll, 2016. [https://brooklynmuseum.tumblr.com/post/154245983195/eisen-keisais-woodblock-print-view-of-shogetsu Museum blog] | *'''View of Shogetsu Pond by Eisen Keisei''' by Elyse Driscoll, 2016. [https://brooklynmuseum.tumblr.com/post/154245983195/eisen-keisais-woodblock-print-view-of-shogetsu Museum blog] | ||
| − | *'''Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy''' by Takeo Minamikawa, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka, 2017. [https://onlinelibrary.wiley.com/doi/abs/10.1002/jrs.5263] | + | *'''Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy''' by Takeo Minamikawa, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka, 2017. [https://onlinelibrary.wiley.com/doi/abs/10.1002/jrs.5263 Link] |
*'''Not fade away: preventive conservation on Hokusai prints''' by Capucine Korenberg and Andrew Shore, 2017. [https://blog.britishmuseum.org/not-fade-away-preventive-conservation-on-hokusai-prints/ Musuem blog] | *'''Not fade away: preventive conservation on Hokusai prints''' by Capucine Korenberg and Andrew Shore, 2017. [https://blog.britishmuseum.org/not-fade-away-preventive-conservation-on-hokusai-prints/ Musuem blog] | ||
| − | *'''A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods''' by Anna Cesaratto, Yan-Bing Lueo, Henry D. Smith II, and Marco Leona, 2018. [https://link.springer.com/article/10.1186/s40494-018-0187-0] | + | *'''A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods''' by Anna Cesaratto, Yan-Bing Lueo, Henry D. Smith II, and Marco Leona, 2018. [https://link.springer.com/article/10.1186/s40494-018-0187-0 Research article] |
| − | *'''Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy''' by Josefina Pérez-Arantegui, David Rupérez, David Almazán, and Nerea Díez-de-Pinos, 2018 [https://www.sciencedirect.com/science/article/abs/pii/S0026265X17308998] | + | *'''Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy''' by Josefina Pérez-Arantegui, David Rupérez, David Almazán, and Nerea Díez-de-Pinos, 2018. [https://www.sciencedirect.com/science/article/abs/pii/S0026265X17308998 Link] |
| − | *'''Probing some organic ukiyo-e Japanese pigments and mixtures using noninvasive and mobile infrared spectroscopies''' by Carole Biron, Gwénaëlle le Bourdon, Josefina Pérez-Arantegui, Laurent Servant, Rémy Chapoulie, and Floréal Daniel, 2018. [https://link.springer.com/article/10.1007/s00216-018-1305-2] | + | *'''Probing some organic ukiyo-e Japanese pigments and mixtures using noninvasive and mobile infrared spectroscopies''' by Carole Biron, Gwénaëlle le Bourdon, Josefina Pérez-Arantegui, Laurent Servant, Rémy Chapoulie, and Floréal Daniel, 2018. [https://link.springer.com/article/10.1007/s00216-018-1305-2 Link] |
| − | *'''Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period''' by Stephanie Zaleski, Yae Takahashi, and Marco Leona, 2018. [https://link.springer.com/article/10.1186/s40494-018-0195-0] | + | *'''Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period''' by Stephanie Zaleski, Yae Takahashi, and Marco Leona, 2018. [https://link.springer.com/article/10.1186/s40494-018-0195-0 Research article] |
| − | *'''s.a.m.@ PAM: Suzuki Harunobu and Color in Japanese Prints''' by Portland Art Museum [https://www.youtube.com/watch?v=hY8fILgSOlA Video] | + | *'''s.a.m.@ PAM: Suzuki Harunobu and Color in Japanese Prints''' by Portland Art Museum, 2018. [https://www.youtube.com/watch?v=hY8fILgSOlA Video] |
| − | *'''Evidence of early amorphous arsenic sulfide production and use in Edo period Japanese woodblock prints by Hokusai and Kunisada''' by Marc Vermeulen and Marco Leona, 2019. [https://link.springer.com/article/10.1186/s40494-019-0318-2] | + | *'''Evidence of early amorphous arsenic sulfide production and use in Edo period Japanese woodblock prints by Hokusai and Kunisada''' by Marc Vermeulen and Marco Leona, 2019. [https://link.springer.com/article/10.1186/s40494-019-0318-2 Research article] |
| − | *'''Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy''' by Tana Villafana and Gwenanne Edwards, 2019. [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0330-6] | + | *'''Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy''' by Tana Villafana and Gwenanne Edwards, 2019. [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0330-6 Research article] |
| − | *'''Characterisation of organic colourants in ukiyo-e prints by Fourier transform near infrared fibre optics reflectance spectroscopy''' by C. Biron, F. Daniel, G. Le Bourdon, R. Chapoulie and L. Servant, 2019 [https://www.impopen.com/subs/nir/v19/R17_0015.pdf] | + | *'''Characterisation of organic colourants in ukiyo-e prints by Fourier transform near infrared fibre optics reflectance spectroscopy''' by C. Biron, F. Daniel, G. Le Bourdon, R. Chapoulie and L. Servant, 2019. [https://www.impopen.com/subs/nir/v19/R17_0015.pdf PDF] |
| − | *'''Developing a systematic approach to determine the sequence of impressions of Japanese woodblock prints: the case of Hokusai's 'Red Fuji'''' by Capucine F. Korenberg, Lucia Pereira-Pardo, Peter J. McElhinney, and Joanne Dyer, 2019. [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0250-5] | + | *'''Developing a systematic approach to determine the sequence of impressions of Japanese woodblock prints: the case of Hokusai's 'Red Fuji'''' by Capucine F. Korenberg, Lucia Pereira-Pardo, Peter J. McElhinney, and Joanne Dyer, 2019. [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0250-5 Research article] |
*'''Japanese Woodblock Prints and Collectors in the Czech Lands''' by Markéta Hánová, 2019. [https://www.ngprague.cz/en/detail-novinky/japanese-woodblock-prints-and-collectors-in-the-czech-lands Museum website] | *'''Japanese Woodblock Prints and Collectors in the Czech Lands''' by Markéta Hánová, 2019. [https://www.ngprague.cz/en/detail-novinky/japanese-woodblock-prints-and-collectors-in-the-czech-lands Museum website] | ||
| − | *'''Non-Invasive Identification of Dyes and Pigments in Japanese Woodblock Prints by Katsushika Hokusai''' by Radka Sĕfců, 2019 [https://www.researchgate.net/publication/337926692_Japonske_drevorezy_Kacusiky_Hokusaie_Neinvazivni_identifikace_barviv_a_pigmentu_Non-Invasive_Identification_of_Dyes_and_Pigments_in_Japanese_Woodblock_Prints_by_Katsushika_Hokusai] | + | *'''Non-Invasive Identification of Dyes and Pigments in Japanese Woodblock Prints by Katsushika Hokusai''' by Radka Sĕfců, 2019. [https://www.researchgate.net/publication/337926692_Japonske_drevorezy_Kacusiky_Hokusaie_Neinvazivni_identifikace_barviv_a_pigmentu_Non-Invasive_Identification_of_Dyes_and_Pigments_in_Japanese_Woodblock_Prints_by_Katsushika_Hokusai Link] |
| + | |||
| + | === Other Publications and Resources=== | ||
| + | *'''On Japanese Pigments''' [https://libmma.contentdm.oclc.org/digital/collection/p16028coll4/id/23939/ Digital book] | ||
| + | |||
| + | :Toyokichi Takamatsu, 1878. | ||
| + | |||
| + | *'''Tokuno Gift''' [https://americanhistory.si.edu/collections/object-groups/tokuno-gift Museum website] | ||
| + | |||
| + | :National Museum of American History, 1889. A group of prints, woodblocks, tools and sample pigments that were gifted to the Smithsonian in 1889 by Michimasa Tokuno who was the head of the Japanese bureau of engraving and printing. | ||
| + | |||
| + | *'''Nishikie no hori to suri''' [http://www.worldcat.org/oclc/181286908 Worldcat] | ||
| + | |||
| + | :Kendo Ishii, 1929. In Japanese. A translation by Tim Clark is available. [http://www.worldcat.org/oclc/40730331 Worldcat] | ||
| + | |||
| + | *'''The making of Japanese prints and the history of Ukiyo-é''' [http://www.worldcat.org/oclc/4292350 Worldcat] | ||
| + | |||
| + | :Chie Hirano, 1939. An excerpt is available [http://woodblock.com/encyclopedia/entries/011_06/011_06.html here]. | ||
| + | |||
| + | *'''Identification of traditional organic colorants employed in Japanese prints an determination of their rates of fading''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA99207 AATA Getty] | ||
| + | |||
| + | :Robert L. Feller, Mary Curran, and Catherine W. Bailie in "Japanese woodblock print: a catalogue of the Mary A. Ainsworth Collection, 1984" | ||
| + | |||
| + | *'''The ozone fading of traditional Japanese colorants''' [https://www.tandfonline.com/doi/abs/10.1179/sic.1988.33.1.29 Link] | ||
| + | |||
| + | :Paul M. Whitmore and Glen R. Cass, 1998. | ||
| + | |||
| + | *'''Non-desctructive determination of colorants used in traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA14999 AATA Getty] | ||
| + | |||
| + | :Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998. | ||
| + | |||
| + | *'''The connoisseruship problem of discolored lead pigments in Japanese woodblock prints''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110482 AATA Getty] | ||
| + | |||
| + | :Judith Walsh, Barbarar H. Berrie and Michael Palmer in "IPC conference papers London, 1997: proceedings of the Fourth Internation Conference of the Institute of Paper Conservation, 6-9 April 1997, 1998" | ||
| + | |||
| + | *'''The analysis and conservation of aniline-dyed, nineteenth-century Japanese prints''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110505 AATA Getty] | ||
| + | |||
| + | :Pamela de Tristn in "IPC conference papers London, 1997:proceedings of the Fourth Confrence of the Institue of Paper Conservation, 6-9 April 1997, 1998" | ||
| + | |||
| + | *'''An electronic transmission analysis of metallic particles in nineteenth century Japanese woodblock prints''' [https://www.societyforjapanesearts.org/andon-archive/andon-65 Link] | ||
| + | |||
| + | :John Fiorillo, Richard Hashimoto, and Sarath Menon in "Andon", 2000. | ||
| + | |||
| + | *'''Seeing red: investigating Japanese woodblock prints and organic colorants using spectrophotometry''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA110206 AATA Getty] | ||
| + | |||
| + | :Michelle Facini at Papers presented at the 27th annual conference of ANAGPIC, April 19-21, 2001. | ||
| + | |||
| + | *'''Review of MA Paper Conservation: Japanese prints''' [http://www.vam.ac.uk/content/journals/conservation-journal/issue-38/review-of-ma-paper-conservation-japanese-prints/ Museum website] | ||
| + | |||
| + | :Shiho Sasaki, 2001. | ||
| + | |||
| + | *'''A study of dayflower blue used in Ukiyo-e prints''' [https://www.tandfonline.com/doi/abs/10.1179/sic.2002.47.s3.038 Link] | ||
| + | |||
| + | :Shiho Sasaki and Pauline Webber, 2002. | ||
| + | |||
| + | *'''Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA45087 AATA Getty] | ||
| + | |||
| + | :Yasuko Noda and Susumu Shimoyama, 2002. | ||
| + | |||
| + | *'''Color as language in traditional Japanese prints''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA108088 AATA Getty] | ||
| + | |||
| + | :Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002" | ||
| + | |||
| + | *'''Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues''' [https://cool.culturalheritage.org/coolaic/sg/bpg/annual/v23/bpga23-05.pdf PDF] | ||
| + | |||
| + | :Betty Fiske and Linda Stiber Morenus, 2004. | ||
| + | |||
| + | *'''The identification and light sensitivity of Japanese woodblock print colorants: the impact on art history and preservation''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107234 AATA Getty] | ||
| + | |||
| + | :Sandra A. Connors, Paul M. Whitmore, Roger S. Keyes, and Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" | ||
| + | |||
| + | *'''Dayflower blue: its appearance and lightfastness in traditional Japanese prints''' [https://aata.getty.edu/permalink/f/1kjitv/GETTY_AATA107225 AATA Getty] | ||
| + | |||
| + | :Shiho Sasaki, Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" | ||
| + | |||
| + | *'''Hokusai and the blue revolution in Edo prints''' [http://www.columbia.edu/~hds2/pdf/2005_Hokusai_and_the_Blue_Revolution.pdf PDF] | ||
| + | |||
| + | :Henry D. Smith in "Hokusai and his age: ukiyo-e painting, printmaking and book illustration in late Edo Japan, 2005" | ||
| + | |||
| + | *'''Non-Destructive Identification of Blue Colorants in Ukiyoe Prints by Visible-Near Infrared Reflection Spectrum Obtained with a Portable Spectrophotometer Using Fiber Optics''' [https://www.researchgate.net/publication/239412287_Non-Destructive_Identification_of_Blue_Colorants_in_Ukiyoe_Prints_by_Visible-Near_Infrared_Reflection_Spectrum_Obtained_with_a_Portable_Spectrophotometer_Using_Fiber_Optics Link] | ||
| + | |||
| + | :Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006. | ||
| + | |||
| + | *'''Environmental Degradation vs. Artistic Intention: The Darkening of Lead Pigments on Japanese Woodblock Prints''' [https://www.academia.edu/4281355/Environmental_Degradation_vs._Artistic_Intention_The_Darkening_of_Lead_Pigments_on_Japanese_Woodblock_Prints_Finlayson_Shugar_and_Walsh_ Poster] | ||
| + | |||
| + | :Christina Finlyason, Aaron Shugar, and Judith Walsh, 2009. | ||
| + | |||
| + | *'''Deterioration of Ferric Ferrocyanide Pigment in Ukiyo-e Printed in the Late Edo Period''' [https://www.jim.or.jp/journal/j/pdf3/74/03/158.pdf PDF] | ||
| + | |||
| + | :Keiko Kida and Masahiro Kitada, 2010. In Japanese. | ||
| + | |||
| + | *'''Synthetic arsenic sulfides in Japanese prints of the Meiji period''' [https://link.springer.com/article/10.1186/s40494-016-0087-0 Research article] | ||
| + | |||
| + | :Yanbing Lueo, Elena Basso, Henry D. Smith II, and Marco Leona, 2016. | ||
| + | |||
| + | *'''The Anatomy of Colors''' [http://www.worldcat.org/oclc/982187763 Worldcat] | ||
| + | |||
| + | :Meguro Museum of Art, Tokyo, 2016. In Japanese. | ||
| + | |||
| + | *'''Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging''' [https://www.culturalheritage.org/docs/default-source/annualmeeting/5-characterizationoftraditional.pdf?sfvrsn=2 Poster] | ||
| + | |||
| + | :Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012. | ||
| + | |||
| + | *'''View of Shogetsu Pond by Eisen Keisei''' [https://brooklynmuseum.tumblr.com/post/154245983195/eisen-keisais-woodblock-print-view-of-shogetsu Museum blog] | ||
| + | |||
| + | :Elyse Driscoll, 2016. | ||
| + | |||
| + | *'''Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy''' [https://onlinelibrary.wiley.com/doi/abs/10.1002/jrs.5263 Link] | ||
| + | |||
| + | :Takeo Minamikawa, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka, 2017. | ||
| + | |||
| + | *'''Not fade away: preventive conservation on Hokusai prints''' [https://blog.britishmuseum.org/not-fade-away-preventive-conservation-on-hokusai-prints/ Musuem blog] | ||
| + | |||
| + | :Capucine Korenberg and Andrew Shore, 2017. | ||
| + | |||
| + | *'''A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods''' [https://link.springer.com/article/10.1186/s40494-018-0187-0 Research article] | ||
| + | |||
| + | :Anna Cesaratto, Yan-Bing Lueo, Henry D. Smith II, and Marco Leona, 2018. | ||
| + | |||
| + | *'''Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy''' [https://www.sciencedirect.com/science/article/abs/pii/S0026265X17308998 Link] | ||
| + | |||
| + | :Josefina Pérez-Arantegui, David Rupérez, David Almazán, and Nerea Díez-de-Pinos, 2018. | ||
| + | |||
| + | *'''Probing some organic ukiyo-e Japanese pigments and mixtures using noninvasive and mobile infrared spectroscopies''' [https://link.springer.com/article/10.1007/s00216-018-1305-2 Link] | ||
| + | |||
| + | :Carole Biron, Gwénaëlle le Bourdon, Josefina Pérez-Arantegui, Laurent Servant, Rémy Chapoulie, and Floréal Daniel, 2018. | ||
| + | |||
| + | *'''Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period''' [https://link.springer.com/article/10.1186/s40494-018-0195-0 Research article] | ||
| + | |||
| + | :Stephanie Zaleski, Yae Takahashi, and Marco Leona, 2018. | ||
| + | |||
| + | *'''s.a.m.@ PAM: Suzuki Harunobu and Color in Japanese Prints''' [https://www.youtube.com/watch?v=hY8fILgSOlA Video] | ||
| + | |||
| + | :Portland Art Museum, 2018. | ||
| + | |||
| + | *'''Evidence of early amorphous arsenic sulfide production and use in Edo period Japanese woodblock prints by Hokusai and Kunisada''' [https://link.springer.com/article/10.1186/s40494-019-0318-2 Research article] | ||
| + | |||
| + | :Marc Vermeulen and Marco Leona, 2019. | ||
| + | |||
| + | *'''Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy''' [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0330-6 Research article] | ||
| + | |||
| + | :Tana Villafana and Gwenanne Edwards, 2019. | ||
| + | |||
| + | *'''Characterisation of organic colourants in ukiyo-e prints by Fourier transform near infrared fibre optics reflectance spectroscopy''' [https://www.impopen.com/subs/nir/v19/R17_0015.pdf PDF] | ||
| + | |||
| + | :C. Biron, F. Daniel, G. Le Bourdon, R. Chapoulie and L. Servant, 2019. | ||
| + | |||
| + | *'''Developing a systematic approach to determine the sequence of impressions of Japanese woodblock prints: the case of Hokusai's 'Red Fuji'''' [https://heritagesciencejournal.springeropen.com/articles/10.1186/s40494-019-0250-5 Research article] | ||
| + | |||
| + | :Capucine F. Korenberg, Lucia Pereira-Pardo, Peter J. McElhinney, and Joanne Dyer, 2019. | ||
| + | |||
| + | *'''Japanese Woodblock Prints and Collectors in the Czech Lands''' [https://www.ngprague.cz/en/detail-novinky/japanese-woodblock-prints-and-collectors-in-the-czech-lands Museum website] | ||
| + | |||
| + | :Markéta Hánová, 2019. | ||
| + | |||
| + | *'''Non-Invasive Identification of Dyes and Pigments in Japanese Woodblock Prints by Katsushika Hokusai''' [https://www.researchgate.net/publication/337926692_Japonske_drevorezy_Kacusiky_Hokusaie_Neinvazivni_identifikace_barviv_a_pigmentu_Non-Invasive_Identification_of_Dyes_and_Pigments_in_Japanese_Woodblock_Prints_by_Katsushika_Hokusai Link] | ||
| + | |||
| + | :Radka Sĕfců, 2019. | ||
Revision as of 12:19, 12 November 2020
MFA Publications
- "Characterization of Yellow and Red Natural Organic Colorants on Japanese Woodblock Prints by EEM Fluorescence Spectroscopy" by Michele Derrick, Richard Newman, and Joan Wright in JAIC, 2017. Link
- Excitation–emission matrix (EEM), or 3D fluorescence spectroscopy, was used to characterize natural yellow and red organic colorants in 18th-century Japanese woodblock prints as part of a project designed to systematically identify the colorants. This analysis technique collected emission spectra in the visible region for a sequence of excitation wavelengths at 10 nm steps from 250 to 600 nm. The resultant data set provided characteristic excitation/emission patterns that were used to identify several natural colorants, including safflower, madder, sappanwood, gamboge, flavonoids, berberines, and turmeric. In combination with other non-sampling methodologies, including x-ray fluorescence (XRF) and fiber optic reflectance spectroscopy (FORS), most colorants on the prints were quickly and non-destructively characterized. Based on examination of 213 prints, several patterns of colorant use were observed. The prints often contained more than one yellow, red, or blue colorant. From 1781 to 1801, considered the Golden Age, it was common to find multiple types of yellows, reds, and blues on a single print. The colorant madder was identified on many of the prints, while gardenia and berberine-containing dyes were not found. This paper presents the theory, experimental parameters, and limitations of the EEM fluorescence technique.
- "Plant Dye Identification in Japanese Woodblock prints" by Michele Derrick, Joan Wright, and Richard Newman in Arnoldia 74/3, February 2017. PDF
- Three non-destructive analysis techniques were used in the analysis and identification of natural colorants used in the production of Japanese woodblock prints. X-ray fluorescence (XRF) was used to determine the presence of any inorganic compounds, and fiber optic reflectance spectroscopy (FORS) was used to distinguish between indigo and dayflower in the blue, green, and purple regions. A third technique, excitation emission matrix (EEM), or 3-D fluorescence spectroscopy, was used for the characterization of the red and yellow plant-based colorants.
- "The Colors of Desire: Beauties of the Yoshiwara Observed" by Joan Wright, Michele Derrick, and Michiko Adachi in Suzuki Harunobu exhibition catalog, 2017.
- Published during the final year of his life, Suzuki Harunobu’s five volume Beauties of the Yoshiwara (1770) is considered to be one of the first full-color printed books and can be seen not only as a masterpiece of his designs for book illustration but also as a compelling example of how artisan-printers might have developed a palette during the early years of full-color printing. Within these five volumes, the profusion of colors and innovative mixtures seen in the first two volumes appears to give way in the last three volumes to a comparatively restrained palette. During the years that followed Harunobu and as print production matured, the development of a standardized palette was likely advantageous for both efficiency and economy within the increasingly commercialized world of publishing.
Other Publications and Resources
- On Japanese Pigments by Toyokichi Takamatsu, 1878. Digital book
- Tokuno Gift at the National Museum of American History, 1889. Museum website
- A group of prints, woodblocks, tools and sample pigments that were gifted to the Smithsonian in 1889 by Michimasa Tokuno who was the head of the Japanese bureau of engraving and printing.
- Nishikie no hori to suri by Kendo Ishii, 1929. In Japanese. A translation by Tim Clark is available.
- Identification of traditional organic colorants employed in Japanese prints an determination of their rates of fading by Robert L. Feller, Mary Curran, and Catherine W. Bailie in "Japanese woodblock print: a catalogue of the Mary A. Ainsworth Collection, 1984" AATA Getty
- The ozone fading of traditional Japanese colorants by Paul M. Whitmore and Glen R. Cass, 1998. Link
- Non-desctructive determination of colorants used in traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics by Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998. AATA Getty
- The connoisseruship problem of discolored lead pigments in Japanese woodblock prints by Judith Walsh, Barbarar H. Berrie and Michael Palmer in "IPC conference papers London, 1997: proceedings of the Fourth Internation Conference of the Institute of Paper Conservation, 6-9 April 1997, 1998" AATA Getty
- An electronic transmission analysis of metallic particles in nineteenth century Japanese woodblock prints by John Fiorillo, Richard Hashimoto, and Sarath Menon in "Andon", 2000. Link
- Seeing red: investigating Japanese woodblock prints and organic colorants using spectrophotometry by Michelle Facini at Papers presented at the 27th annual conference of ANAGPIC, April 19-21, 2001. AATA Getty
- Review of MA Paper Conservation: Japanese prints by Shiho Sasaki, 2001. Museum website
- A study of dayflower blue used in Ukiyo-e prints by Shiho Sasaki and Pauline Webber, 2002. Link
- Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer by Yasuko Noda and Susumu Shimoyama, 2002. AATA Getty
- Color as language in traditional Japanese prints by Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002" AATA Getty
- Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues by Betty Fiske and Linda Stiber Morenus, 2004. PDF
- The identification and light sensitivity of Japanese woodblock print colorants: the impact on art history and preservation by Sandra A. Connors, Paul M. Whitmore, Roger S. Keyes, and Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" AATA Getty
- Dayflower blue: its appearance and lightfastness in traditional Japanese prints by Shiho Sasaki, Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005" AATA Getty
- Hokusai and the blue revolution in Edo prints by Henry D. Smith in "Hokusai and his age: ukiyo-e painting, printmaking and book illustration in late Edo Japan, 2005" PDF
- Non-Destructive Identification of Blue Colorants in Ukiyoe Prints by Visible-Near Infrared Reflection Spectrum Obtained with a Portable Spectrophotometer Using Fiber Optics by Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006. Link
- Environmental Degradation vs. Artistic Intention: The Darkening of Lead Pigments on Japanese Woodblock Prints by Christina Finlyason, Aaron Shugar, and Judith Walsh, 2009. Poster
- Synthetic arsenic sulfides in Japanese prints of the Meiji period by Yanbing Lueo, Elena Basso, Henry D. Smith II, and Marco Leona, 2016. Research article
- The Anatomy of Colors by Meguro Museum of Art, Tokyo, 2016. In Japanese.
- Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging by Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012. Poster
- View of Shogetsu Pond by Eisen Keisei by Elyse Driscoll, 2016. Museum blog
- Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy by Takeo Minamikawa, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka, 2017. Link
- Not fade away: preventive conservation on Hokusai prints by Capucine Korenberg and Andrew Shore, 2017. Musuem blog
- A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods by Anna Cesaratto, Yan-Bing Lueo, Henry D. Smith II, and Marco Leona, 2018. Research article
- Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy by Josefina Pérez-Arantegui, David Rupérez, David Almazán, and Nerea Díez-de-Pinos, 2018. Link
- Probing some organic ukiyo-e Japanese pigments and mixtures using noninvasive and mobile infrared spectroscopies by Carole Biron, Gwénaëlle le Bourdon, Josefina Pérez-Arantegui, Laurent Servant, Rémy Chapoulie, and Floréal Daniel, 2018. Link
- Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period by Stephanie Zaleski, Yae Takahashi, and Marco Leona, 2018. Research article
- s.a.m.@ PAM: Suzuki Harunobu and Color in Japanese Prints by Portland Art Museum, 2018. Video
- Evidence of early amorphous arsenic sulfide production and use in Edo period Japanese woodblock prints by Hokusai and Kunisada by Marc Vermeulen and Marco Leona, 2019. Research article
- Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy by Tana Villafana and Gwenanne Edwards, 2019. Research article
- Characterisation of organic colourants in ukiyo-e prints by Fourier transform near infrared fibre optics reflectance spectroscopy by C. Biron, F. Daniel, G. Le Bourdon, R. Chapoulie and L. Servant, 2019. PDF
- Developing a systematic approach to determine the sequence of impressions of Japanese woodblock prints: the case of Hokusai's 'Red Fuji' by Capucine F. Korenberg, Lucia Pereira-Pardo, Peter J. McElhinney, and Joanne Dyer, 2019. Research article
- Japanese Woodblock Prints and Collectors in the Czech Lands by Markéta Hánová, 2019. Museum website
- Non-Invasive Identification of Dyes and Pigments in Japanese Woodblock Prints by Katsushika Hokusai by Radka Sĕfců, 2019. Link
Other Publications and Resources
- On Japanese Pigments Digital book
- Toyokichi Takamatsu, 1878.
- Tokuno Gift Museum website
- National Museum of American History, 1889. A group of prints, woodblocks, tools and sample pigments that were gifted to the Smithsonian in 1889 by Michimasa Tokuno who was the head of the Japanese bureau of engraving and printing.
- Nishikie no hori to suri Worldcat
- Kendo Ishii, 1929. In Japanese. A translation by Tim Clark is available. Worldcat
- The making of Japanese prints and the history of Ukiyo-é Worldcat
- Chie Hirano, 1939. An excerpt is available here.
- Identification of traditional organic colorants employed in Japanese prints an determination of their rates of fading AATA Getty
- Robert L. Feller, Mary Curran, and Catherine W. Bailie in "Japanese woodblock print: a catalogue of the Mary A. Ainsworth Collection, 1984"
- The ozone fading of traditional Japanese colorants Link
- Paul M. Whitmore and Glen R. Cass, 1998.
- Non-desctructive determination of colorants used in traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics AATA Getty
- Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998.
- The connoisseruship problem of discolored lead pigments in Japanese woodblock prints AATA Getty
- Judith Walsh, Barbarar H. Berrie and Michael Palmer in "IPC conference papers London, 1997: proceedings of the Fourth Internation Conference of the Institute of Paper Conservation, 6-9 April 1997, 1998"
- The analysis and conservation of aniline-dyed, nineteenth-century Japanese prints AATA Getty
- Pamela de Tristn in "IPC conference papers London, 1997:proceedings of the Fourth Confrence of the Institue of Paper Conservation, 6-9 April 1997, 1998"
- An electronic transmission analysis of metallic particles in nineteenth century Japanese woodblock prints Link
- John Fiorillo, Richard Hashimoto, and Sarath Menon in "Andon", 2000.
- Seeing red: investigating Japanese woodblock prints and organic colorants using spectrophotometry AATA Getty
- Michelle Facini at Papers presented at the 27th annual conference of ANAGPIC, April 19-21, 2001.
- Review of MA Paper Conservation: Japanese prints Museum website
- Shiho Sasaki, 2001.
- A study of dayflower blue used in Ukiyo-e prints Link
- Shiho Sasaki and Pauline Webber, 2002.
- Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer AATA Getty
- Yasuko Noda and Susumu Shimoyama, 2002.
- Color as language in traditional Japanese prints AATA Getty
- Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002"
- Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues PDF
- Betty Fiske and Linda Stiber Morenus, 2004.
- The identification and light sensitivity of Japanese woodblock print colorants: the impact on art history and preservation AATA Getty
- Sandra A. Connors, Paul M. Whitmore, Roger S. Keyes, and Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005"
- Dayflower blue: its appearance and lightfastness in traditional Japanese prints AATA Getty
- Shiho Sasaki, Elizabeth I. Coombs in "Scientific research on the pictorial arts of Asia:proceedings of the second Forbes Symposium at the Freer Gallery of Art, 2005"
- Hokusai and the blue revolution in Edo prints PDF
- Henry D. Smith in "Hokusai and his age: ukiyo-e painting, printmaking and book illustration in late Edo Japan, 2005"
- Non-Destructive Identification of Blue Colorants in Ukiyoe Prints by Visible-Near Infrared Reflection Spectrum Obtained with a Portable Spectrophotometer Using Fiber Optics Link
- Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006.
- Environmental Degradation vs. Artistic Intention: The Darkening of Lead Pigments on Japanese Woodblock Prints Poster
- Christina Finlyason, Aaron Shugar, and Judith Walsh, 2009.
- Deterioration of Ferric Ferrocyanide Pigment in Ukiyo-e Printed in the Late Edo Period PDF
- Keiko Kida and Masahiro Kitada, 2010. In Japanese.
- Synthetic arsenic sulfides in Japanese prints of the Meiji period Research article
- Yanbing Lueo, Elena Basso, Henry D. Smith II, and Marco Leona, 2016.
- The Anatomy of Colors Worldcat
- Meguro Museum of Art, Tokyo, 2016. In Japanese.
- Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging Poster
- Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012.
- View of Shogetsu Pond by Eisen Keisei Museum blog
- Elyse Driscoll, 2016.
- Analytical imaging of colour pigments used in Japanese woodblock prints using Raman microspectroscopy Link
- Takeo Minamikawa, Daiki Nagai, Takaaki Kaneko, Ittetsu Taniguchi, Mariko Ando, Ryo Akama, and Kenji Takenaka, 2017.
- Not fade away: preventive conservation on Hokusai prints Musuem blog
- Capucine Korenberg and Andrew Shore, 2017.
- A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods Research article
- Anna Cesaratto, Yan-Bing Lueo, Henry D. Smith II, and Marco Leona, 2018.
- Colours and pigments in late ukiyo-e art works: A preliminary non-invasive study of Japanese woodblock prints to interpret hyperspectral images using in-situ point-by-point diffuse reflectance spectroscopy Link
- Josefina Pérez-Arantegui, David Rupérez, David Almazán, and Nerea Díez-de-Pinos, 2018.
- Probing some organic ukiyo-e Japanese pigments and mixtures using noninvasive and mobile infrared spectroscopies Link
- Carole Biron, Gwénaëlle le Bourdon, Josefina Pérez-Arantegui, Laurent Servant, Rémy Chapoulie, and Floréal Daniel, 2018.
- Natural and synthetic arsenic sulfide pigments in Japanese woodblock prints of the late Edo period Research article
- Stephanie Zaleski, Yae Takahashi, and Marco Leona, 2018.
- s.a.m.@ PAM: Suzuki Harunobu and Color in Japanese Prints Video
- Portland Art Museum, 2018.
- Evidence of early amorphous arsenic sulfide production and use in Edo period Japanese woodblock prints by Hokusai and Kunisada Research article
- Marc Vermeulen and Marco Leona, 2019.
- Creation and reference characterization of Edo period Japanese woodblock printing ink colorant samples using multimodal imaging and reflectance spectroscopy Research article
- Tana Villafana and Gwenanne Edwards, 2019.
- Characterisation of organic colourants in ukiyo-e prints by Fourier transform near infrared fibre optics reflectance spectroscopy PDF
- C. Biron, F. Daniel, G. Le Bourdon, R. Chapoulie and L. Servant, 2019.
- Developing a systematic approach to determine the sequence of impressions of Japanese woodblock prints: the case of Hokusai's 'Red Fuji' Research article
- Capucine F. Korenberg, Lucia Pereira-Pardo, Peter J. McElhinney, and Joanne Dyer, 2019.
- Japanese Woodblock Prints and Collectors in the Czech Lands Museum website
- Markéta Hánová, 2019.
- Non-Invasive Identification of Dyes and Pigments in Japanese Woodblock Prints by Katsushika Hokusai Link
- Radka Sĕfců, 2019.