Difference between revisions of "Bibliography"

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=== MFA Publications ===
 
=== MFA Publications ===
  
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* "Characterization of Yellow and Red Natural Organic Colorants on Japanese Woodblock Prints by EEM Fluorescence Spectroscopy" by Michele Derrick, Richard Newman and Joan Wright, ''JAIC'', 2017.  [http://dx.doi.org/10.1080/01971360.2016.1275438 link]
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* '''"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]
  
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''Abstract''
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:Excitation–emission matrix (EEM), or three-dimensional 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 and fiber optic reflectance spectroscopy, 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.
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As part of a project designed to systematically identify colorants on Japanese woodblock prints, excitation–emission matrix (EEM), or three-dimensional, fluorescence spectroscopy, equipped with a fiber optic probe, was used to characterize natural yellow and red organic colorants on 18th-century Japanese prints without taking samples. 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 and fiber optic reflectance spectroscopy, 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 of the Japanese print, 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 found on none. This paper presents the theory, experimental parameters, and limitations of the EEM fluorescence technique. The technique is illustrated using the analysis results of four Japanese woodblock prints.
 
  
  
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* "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 link]
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* '''"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 link]
  
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''Conclusion''
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:The purpose of this paper is to provide specific information on the analysis and identification of natural colorants used in the production of Japanese woodblock prints. Three non- destructive analysis techniques were used so that no samples were removed from the 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. Additionally, methods were developed to successfully use a third technique, excitationemission matrix (EEM), or 3-D, fluorescence spectroscopy, for the characterization of the red and yellow plant-based colorants.
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The purpose of this paper is to provide specific information on the analysis and identification of natural colorants used in the production of Japanese woodblock prints. Three non- destructive analysis techniques were used so that no samples were removed from the 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. Additionally, methods were developed to successfully use a third technique, excitationemission matrix (EEM), or 3-D, fluorescence spectroscopy, for the characterization of the red and yellow plant-based colorants.
 
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The MFA collection of Japanese woodblock prints is an ideal venue for the use of three combined techniques for the identification of the colorants because: • The palette used for woodblock prints is limited. • The colorants and substrates for the print were prepared with consistent, often documented, methods that had minimal variation. • The prints are flat and the size of the prints, even within their mats, is less than 1 square meter. • The speed for all three types of analysis is fast and allows for easy analysis of multiple locations. • The MFA has an extensive set of over 50,000 Japanese woodblock prints and illustrated books that allows for exten
 
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sive surveys of the materials within each time period, style, publisher, and artist. • The knowledge obtained from the colorant identification will promote the understanding of the light stability for each print, and thus help preserve its vibrancy.
 
  
  
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* "The Colors of Desire: ''Beauties of the Yoshiwara'' Observed" by Joan Wright, Michele Derrick, and Michiko Adachi. in Harunobu catalog, 2017.
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* '''"The Colors of Desire: ''Beauties of the Yoshiwara'' Observed"''' by Joan Wright, Michele Derrick, and Michiko Adachi in ''Suzuki Harunobu'' exhibition catalog, 2017.
  
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''Synopsis''
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: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.
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Published during the final year of his life, 1770, Harunobu’s five volumes of ''Beauties of the Yoshiwara'' 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 multicolor printing. 
 
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The activities and poems combined with the subtle shifts in palette found within ''Beauties of the Yoshiwara'' can be seen to eloquently capture the cyclical flow of the seasons. 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. On the whole, these volumes can be viewed to anticipate the standardization that takes place as multicolor printing develops. 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.  As research continues to expand our knowledge of the materials and techniques employed during the Edo period to produce woodblock prints, undoubtedly there will be more questions to answer and further mysteries to solve.
 
  
 
=== Other Publications ===
 
=== Other Publications ===
 +
Are there any problems or considerations in adding other publications??
 +
*Example: Gwenanne's publication
  
 
[[Category:Ukiyo-e Colorants]]
 
[[Category:Ukiyo-e Colorants]]

Revision as of 16:30, 7 May 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 three-dimensional 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 and fiber optic reflectance spectroscopy, 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. link
The purpose of this paper is to provide specific information on the analysis and identification of natural colorants used in the production of Japanese woodblock prints. Three non- destructive analysis techniques were used so that no samples were removed from the 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. Additionally, methods were developed to successfully use a third technique, excitationemission matrix (EEM), or 3-D, fluorescence spectroscopy, 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

Are there any problems or considerations in adding other publications??

  • Example: Gwenanne's publication
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