Bibliography

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. Website

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 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 (錦絵の彫と摺) 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 and 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"

• Non-destructive determination of colorants used for traditional Japanese ukiyo-e woodblock prints by the three-dimensional fluorescence spectrum using fiber optics (光ファイバーを用いる三次元蛍光スペクトルによる日 来の浮世絵版画に使用された着色料の非破壊同定) PDF

Susumu Shimoyama, Yasuko Noda and Shinya Katsuhara, 1998. In Japanese with English abstract.

• 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"

• The ozone fading of traditional Japanese colorants Link

Paul M. Whitmore and Glen R. Cass, 1998.

• Aobana and aobanagami (アオバナと青花紙 : 近江特産の植物をめぐって) Worldcat

Sadao Sakamoto and Yukino Ochiai, 1998. In Japanese.

• Analysis of Metallic Pigments Used in 19th Century Japanese Prints Link

GW Bailey, WG Jerome, S McKernan, JF Mansfield, RL Price, RY Hashimoto, ESK Menon, J Fiorillo, 1999.

• An electronic transmission analysis of metallic particles in nineteenth century Japanese woodblock prints

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.

• Color as language in traditional Japanese prints AATA

Roger S. Keyes and Elizabeth I. Coombs in "The broad spectrum: studies in the materials, techniques, and conservation of color on paper, 2002"

• Non-destructive analysis of ukiyo-e, traditional Japanese woodblock prints, using a portable x-ray fluorescence spectrometer AATA

Yasuko Noda and Susumu Shimoyama, 2002.

• Suzuki Harunobu (青春の浮世絵師　鈴木春信－江戸のカラリスト登場－) Worldcat

Chiba City Museum and Hagi Uragami Museum, 2002. In Japanese. Exhibition catalogue.

• Ultraviolet and infrared examination of Japanese woodblock prints:identifying reds and blues PDF

Betty Fiske and Linda Stiber Morenus, 2004.

• 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"

• 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"

• 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 (光ファイバー接続簡易携帯型分光器を用いる可視-近赤外反射スペクトルによる浮世絵版画青色着色料の非破壊同定) PDF

Susumu Shimoyama, Hideo Matsui, and Yasuko Shimoyama, 2006. In Japanese with English abstract.

• 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 (江戸時代の浮世絵版画に用いられたフェロシアン化鉄顔料の劣化) PDF

Keiko Kida and Masahiro Kitada, 2010. In Japanese with English abstract.

• Characterization of traditional Japanese colorants in woodblock printing using multispectral imaging Poster

Gwenanne Edwards, Cyntia Karnes, and Lynn Brostoff, 2012.

• The Effect of Iron Ions from Prussian Blue Pigment on the Deterioration of Japanese Paper Link

Keiko Kida, Antje Potthast, Masamitsu Inaba, and Noriko Hayakawa, 2015.

• Analysis of the Used Colorants in the Ukiyo-e Wood Prints Made during the End of Edo-Period and the Beginning of Meiji-Period : Red, Yellow and Green (幕末明治期の錦絵に用いられた色材調査 : 赤色,黄色,緑色について) PDF

Yoshiko Shimadzu, 2016. 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.

• View of Shogetsu Pond by Eisen Keisei Museum website

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 website

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.