The definitive overview of and ultimate resource on the iconic architect-designed houses built in Japan from 1945 to the present

Imagine a terraced house whose courtyard separates the kitchen from the bedroom. Or a tiny, triangular tower of rooms stacked one above another. Quirky, experimental and utterly fascinating, the houses produced in Japan since the end of the Second World War are among the most exceptional in the world. The Japanese House Since 1945 is a cohesive chronology of the most compelling architect-designed Japanese homes, showing developments in form, material, architectural expression and family living over almost eight decades.

Unparallelled in their conceptual purity, many Japanese houses have become icons at home as well as abroad. Presented with clear prose and accompanied by compelling photographs and drawings, this book features 97 houses, divided among nine chapters and organized by decade. In addition to acquainting the reader with individual homes, the book illuminates the social, technological, geographic and historical factors behind these era-defining houses. Developments over the period are underscored by the visual presentation, as it evolves from monochrome to colour and from hand-drawn to digital. Decade lead-ins set the historical context for each chapter, while ‘Spotlight’ segments draw attention to the separate components of the Japanese house. ‘At Home’ sections, most written by architects and their family members, bring to life the experience of living in these unique houses.

About the Author:

Naomi Pollock is an American architect, journalist and author. She has lived in Japan since the 1980s, reporting on architecture for international magazines. A special international correspondent for Architectural Record, she has written a number of books on Japanese houses and architects and is the author of Japanese Design Since 1945, also published by Thames & Hudson.

Enter the enchanting world of legendary director Hayao Miyazaki's My Neighbor Totoro.

Including 30 different hand-drawn final frames from the film, this collection of postcards (to keep or send) celebrates the beautiful art and story of Totoro.

A true delight for Studio Ghibli and animation fans!

About the Author:

Studio Ghibli is a Tokyo-based animation film studio founded by directors Isao Takahata and Hayao Miyazaki. The studio has produced several short films and more than 20 feature-length films, including My Neighbor Totoro, Kiki’s Delivery Service, Princess Mononoke, and the Academy-Award winner Spirited Away.

Showcasing impactful and effective poster designs from Japan, POSŪTA POSTER shines a spotlight on the new generation of graphic design work inspired by unique Japanese culture, elements, and aesthetics.

From the iconic 1964 Olympics poster by Yusaku Kamekura to the psychedelic posters of Tadanori Yokoo, Japan has made its way to the forefront of impactful and effective graphic and poster design since its post-war days. Fast-forwarding to the Reiwa era, Japan’s graphic design scene has continued to evolve in terms of design values and aesthetics.

Known for their dedication to craft and ingenuity, Japanese design aesthetics are not only timeless, but also incorporates unique elements found only in their culture. POSŪTA POSTER serves to showcase poster designs from Japan’s new generation of talent, spanning categories from political/social, advertising, experimental and more.

250 Japanese Knitting Stitches contains the original collection of knitting stitches first published by Hitomi Shida in 1996.

Copies of the original Japanese edition have been jealously coveted by knitters around the world, and now Tuttle Publishing brings you this classic in English for the first time!

Hitomi Shida's previous work, the Japanese Knitting Stitch Bible was released by Tuttle in October 2017 and has already been purchased (and tested) by thousands of avid knitters who are thrilled to discover a treasure trove of elegant and intricate new patterns. 250 Japanese Knitting Stitches was Hitomi Shida's first effort and, like its successor, is filled with her highly original and beautiful designs and variations on knitting classics.

Translated and introduced by veteran knitting instructor Gayle Roehm, the best-known teacher of Japanese knitting in America. Roehm guides knitters through the particulars of the patterns and explains how to execute the stitches.

This knitting reference book features the following:

- Stitches designed for borders and edgings
- Beautiful cable stitches, both simple and elaborate
- Elegant popcorn stitches from fine to bold
- Multiple variations on individual patterns

Shida's finished projects are a wonder to behold and accomplished knitters will brave even the most daunting of stitch patterns to create them. Filled with 250 distinctive and inventive patterns--with a stitch diagram and photo for each pattern--this highly anticipated book is destined to be on every knitter's bookshelf.

About the Author:

Hitoi Shidma is a well-known Japanese designer of thousands of original knitting stitches and knitted garments, cultivating a worldwide following of fans. Her intricate and elegant patterns have made her the most famous knitting guru in Japan. She has been teaching, designing and writing books for over 20 years.

A major survey of the Japanese designers, artisans, manufacturers and technologies that have shaped the world of modern design

A dedication to craft and the finest production quality have been an integral part of culture and day-to-day life in Japan for centuries. For the Japanese, the concept of design is not limited to functionality or materiality, but wholly connected with ancient culture and rituals. In this sense, a chair is much more than what you sit on, a cup more than what you drink from: these objects are to be reflected upon, to be touched and cherished.

As mass manufacturing became widespread in the post-war period, fascinating cross-cultural exchanges began to take place between Japan and the West. These gave rise not only to timeless objects of great beauty and utility, but innovations in materials, form and technology. Far beyond the icons of Japanese design – the perfectly weighted Kikkoman soy sauce bottle, Yanagi’s butterfly stool, the Sony Walkman – the products and objects that have emerged from the country over the past seven decades, few of which have been widely exported, serve to delight and draw admiration. In recent years, a new generation of designers – Nendo, Yoshioka – have taken Japanese creativity into entirely new territory, reconceptualizing the very meaning of design.

No attempt has been made to present a complete overview of Japanese design, until now. Showcasing over eighty designers, hundreds of objects, and contributions from both Japanese and Western design experts, this volume will become the definitive work on the subject for many years to come.

Contents List:

Foreword by Maasaki Kanai • Introduction: The Craft of Japanese Design • The Design Titans • The Designers and Everyday Icons: Tables & Chairs • Essay by Naomi Pollock • Food & Drink • Essay by Makoto Shimazaki • On&Off • Essay by Shinji Hamada • Posters & Packaging • Warp & Weft • Essay by Matilda McQuaid • Lifestyle & Leisure • A–Z of Designers

About the Authors:

Naomi Pollock is an American architect who writes about Japanese design and architecture. Her work has appeared in numerous publications on both sides of the Pacific, including A+U, Dwell, Kinfolk, Wallpaper* and Architectural Record, for whom she is the Special International Correspondent. In addition, she is the author of several books, including Modern Japanese House, Made in Japan: 100 New Products, Jutaku: Japanese Houses and Sou Fujimoto. In 2018, she was selected to join the College of Fellows of The American Institute of Architects. Masaaki Kanai is President of Ryohin Keikaku, the retailer and manufacturer of the leading Japanese brand Muji.

Keiko's unique approach to ikebana, the Japanese art of flower arranging, combines traditional techniques with modern tastes. Her influences -- which range from sculpture to today's Western floral design -- come together to create one-of-a-kind arrangements that are authentic and eye-catching, simple and graceful, and possible for anyone to achieve.

This book presents step-by-step instructions for creating 20 stunning ikebana arrangements in a range of sizes and styles. Each of the flower arrangements can be completed in just three simple steps and uses easy-to-find floral materials and containers. The book also includes an introduction to the history of ikebana as it relates to Japan and Japanese culture, as well as a guide to the basic rules of ikebana design and floral techniques. Suggestions for finding and choosing materials and supplies make it easy to learn how to arrange flowers and gain a hands-on appreciation of the art of Japanese flower arranging.

About the Authors:

Keiko Kubo started taking ikebana classes as a teenager in Japan. After coming to the United States to pursue her art, she graduated from the School of Art Institute of Chicago with a master of fine arts degree, majoring in sculpture, and has also studied Western floral art. Keiko resides in Chicago, IL.
Erich Schrempp is a Chicago-based photographer specializing in illustrative images. His fine art and commissioned work can be viewed at www.schremppstudio.com.

___________

Пролистать книгу Keiko's Ikebana: A Contemporary Approach to the Traditional Japanese Art of Flower Arranging на Google Books.

In 1868, Japan underwent a dramatic transformation following the overthrow of the shogun by supporters of Emperor Meiji, marking the end of feudal military rule and ushering in a new era of government that promoted modernizing the country and interacting with other nations.

Japanese print culture, which had flourished for more than a century with the production of color woodcuts (the so-called ukiyo-e, or “floating world” images), also changed course during the Meiji era (1868–1912), as societal changes and the once-isolationist country’s new global engagement provided a wealth of new subjects for artists to capture. Featuring selections from the renowned Achenbach Foundation for Graphic Arts’ permanent collection, Japanese Prints in Transition: From the Floating World to the Modern World documents the shift from delicately colored ukiyo-e depictions of actors, courtesans, and scenic views to brightly colored images of Western architecture, modern military warfare, technology (railroad trains, steam-powered ships, telegraph lines), and Victorian fashions and customs.

About the Authors:

Rhiannon Paget is the curator of Asian art at the John & Mabel Ringling Museum of Art in Sarasota, Florida. Karin Breuer is curator in charge of the Achenbach Foundation for Graphic Arts.

A crimson fish wrestles a man. A horned demon stares menacingly. 

These vivid scenes are tattoos, created in pain, incised in the flesh of the Yakuza, Japan's feared secret society of gangsters. They are the visions of the Irezumi, the legendary tattoo artists, who spend years creating living masterpieces. Photographer Sandi Fellman describes this strange and violent world both in her text and in her stunning, large 20 x 24 inch Polaroid photographs.

About the Author:

Sandi Fellman is a well-known photographer whose work has been featured in many one-person and group exhibitions in the United States, Europe, Japan, and Australia. Her photographs can be found in numerous private and public collections, including the Museum of Modern Art, The Metropolitan Museum of Art, Bibliotheque Nationale, and Center for Creative Photography. Her work has also been widely published over the past fifteen years.

Over the years, Japanese gardeners have fine-tuned a distinctive set of pruning techniques that coax out the essential characters of their garden trees, or niwaki. In this highly practical book, Western gardeners are encouraged to draw upon the techniques and sculpt their own garden trees to unique effect. After first discussing the principles that underpin the techniques, the author offers in-depth guidelines for shaping pines, azaleas, conifers, broadleaved evergreens, bamboos and deciduous trees. Throughout the text, step-by-step illustrations accompany the instructions, while abundant photographs and anecdotes bring the ideas surrounding niwaki vividly to life.

About the Author:

Jake Hobson draws upon years of experience with Japanese gardens and landscaping. He spent a year at a nursery in Osaka, and in 2004 started his own business Niwaki, Japanese Garden Tools. A keen observer of the artistry of gardens, Jake received his bachelor's degree in sculpture. He lives in England.

Drawing on images of women and men from the heyday of Japanese printmaking, this book explores the subtle iconography and complex symbols inherent in the tradition of ukiyo-e (traditional Japanese woodblock printing meaning 'Fleeting World'). The intriguing elements refer to Japanese history, literature, mythology, fashion, folklore and gossip of the Edo period and are at times difficult to discern, let alone grasp, without proper knowledge. Divided into classic printmaking themes such as beautiful women, heroes, actors and shunga (erotic prints), this lavishly illustrated book provides readers with the keys to understanding the hidden meanings in more than 100 top Japanese prints. 

Beautiful women – including ladies from Edo's famous Yoshiwara brothel district – take up much of the book. Heroes and villains illustrate Japan's rich mythological and pseudo-historical past. The popular pastimes of kabuki and sumo are also covered: famous actors play their best-known roles as brave men or delicate geisha. These colourful masterpieces demonstrate the economy of line and powerful expression of the woodblock medium. Each print is explored in the finest detail in order to explain the many riddles of ukiyo-e – that intriguing and captivating mode of visual expression that had such a profound influence on Western art.

About the Authors:

Chris Uhlenbeck has been a dealer in Japanese prints for 40 years. He acted as curator of many exhibitions in the field of Japanese art, starting with the major retrospective exhibition on 20th-century Japanese prints from the Robert O. Muller collection in 1992 for the National Museum of Ethnology in Leiden, The Fondation L'Hermitage in Lausanne and the Musée Marmottan in Paris. From 2007, he fulfilled the role of curator of the Nihon no Hanga museum in Amsterdam for 10 years. Between 2011 and 2021 he created various exhibitions in the Japan Museum SieboldHuis in Leiden: on Hiroshige (2011), Yoshitoshi (2012) Kuniyoshi (2013), Kunisada (2015) and recently on Gekko (2020). He is co-author of the recent Ludion publication Shin Hanga: The New Prints of Japan 1900–1960 (2022).

Josephine Smit is a scholar and lecturer who obtained her master's degree in Japanese Studies from Leiden University, The Netherlands. Specialising in Japanese politics and international relations, she wrote her master's thesis on the evolution of post-disaster mental health care responses in Japan after conducting research for a year at Kobe University, Japan. As a freelancer, Smit lectures on kimono culture. Smit is currently employed as a Japanologist at both Japan Museum SieboldHuis and Hotei Japanese Prints in Leiden doing Ukiyo-e related research and exhibition management.

Jim Dwinger is a scholar of Japanese art history with a specialization in woodblock prints. He is co-author of the recent Ludion publication Shin Hanga: The New Prints of Japan 1900–1960 (2022) and is currently involved in preparing an upcoming catalogue of prints by Utagawa Hiroshige. He is also a member of the editorial board of Andon, Journal of the Society for Japanese Art.

A Japanese designer offers a compelling alternative way to engage with our possessions, our history, our environment, and each other. 

The Japanese phrase "hodo-hodo" originates in ancient times. When contemporary designer Taku Satoh applies it to his work, it means "just enough." Hodo-hodo design deliberately holds back, leaving room for individuals to engage with objects according to their unique sensibilities. In the midst of a consumerist age, Satoh has built an illustrious design career around this philosophy, creating iconic work in fashion, food, and architecture. His ideas speak not just to professional designers, but to anyone who wishes to move more thoughtfully through the world. Within this slim but powerful volume, Satoh explains his philosophy through tangible examples — from the aesthetic of a timeworn ramen shop to a rooftop playground inspired by onomatopoeia. Urging readers to appreciate everyday objects and spaces and to question the lure of convenience, he delivers a message rooted in the past yet perfectly suited to our times.

TIMELY TOPIC: As more people begin to question the structures of consumerism, this thoughtful book offers a different way of seeing the world. Satoh's philosophy aligns perfectly with sustainable lifestyles.

UNIQUE INSIGHTS INTO JAPANESE CULTURE: Japan is a huge cultural exporter and a booming travel destination. Many Japanese ideas and traditions — such as ikigai, forest bathing, and wabi-sabi — are being widely celebrated as pathways to a more fulfilling life. This book presents hodo-hodo, a concept not yet widely exported. Learning about hodo-hodo will enrich readers' understanding of Japan, as well as inspire designers and other creatives in their work.

AUTHORITATIVE VOICE: Taku Satoh has over four decades of design experience. His work is renowned in Japan, and he's worked with major brands and museums and won many awards. Here, he shares wisdom drawn from his design expertise and his deep love for his culture.

ACCESSIBLE CONTENT: The handy paperback format is perfect for a book that you will want to read and re-read. Satoh proposes fascinating and pertinent ideas in an unintimidating way.

About the Author:

Taku Satoh has created designs for prominent Japanese brands including Issey Miyake. He has been awarded honors by, among others, the New York Art Directors Club and the emperor of Japan. He resides in Tokyo.

_________

Пролистать книгу Just Enough Design: Reflections on the Japanese Philosophy of Hodo-Hodo на Google Books.

The most complete volume on the subject in any language Japanese graphic design has been researched and published in Italy up to the first decade of the new millennium, but there is a gap from then to today.
edited by Gian Carlo Calza with Elisabetta Scantamburlo

This research aims at filling that gap considering the first two decades of the new millennium, covering on one side the past, in the names of important recognized masters, and on the other side exploring new names and trends. The volume includes 85 graphic designers and 756 posters. It is the most complete volume on the subject in any language.

Japanese contemporary posters are considered to have started in the mid 50’s, after the Second World War and following a period of depression, post-militarism, and post-autarchy. The new expressive mode was fuelled by stimuli coming from abroad, but it was also a chance to reinterpret traditional themes and colours, bringing them into modernity in refreshing and successful ways.

Since the post-war period, Japan has seen a rapid evolution in the arts: painting, architecture, sculpture, graphics, theatre, music, and cinema. Influences, assimilations, denials, transformations, new creative processes gave rise to a vast quantity of cultural and artistic movements. In this maze of expressive forms, graphic design is a precious tool for tracing and following the thread of national creativity and the more or less intense permanence of traditional aesthetic sensibility in the new forms taken.

Over half a century after the inception of graphics and with the coming Olympic Games taking place now in 2021, this volume aims at taking a wide view at the trends and aesthetic shifts that can be traced in the development of graphic design in Japan.

______________

This book brings together the best of Japanese graphic design in the posters that accompanied Japan from the 1964 Tokyo Olympics to the creation of the Issey Miyake logo, and from the Osaka Expo to the official poster for the Pan-Pacific Design Congress. Ken’ya Hara was born in the province of Okyama in 1958. After graduating from the Department of Design at Musashino Art University in 1981 and obtaining his M.A. in 1983, he joined the Nippon Design Center where he established the Hara Design Institute in 1992.

Yusaku Kamekura was born in Kanbara in 1915. He is considered to be the figure who contributed most to the spread of Japanese graphic design in the post-WWII period. He graduated with a degree in architecture and industrial arts in 1933; in 1940, he became the director of Nippon Kobo and in 1949 he was appointed artistic director of the magazine Commerce Japan. His most important designs, including the posters for the 1964 Olympic Games, the 1970 Osaka Expo, the Hiroshima Appeals, and the logo for the Nippon Telegraph and Telephone Corporation, all made a significant contribution to increasing his fame.

Shin Matsunaga was born in 1940 in Tokyo. After graduating in 1964 from the department of design at Tokyo National University of Fine Arts and Music, he joined the advertising division at Shiseido. He designed the PEACE ’86 poster and curated all the graphic design for the Sezon Museum of Modern Art. He also designed the symbol and official poster for the 1989 Pan-Pacific Design Congress, the human rights poster commemorating the 200th anniversary of the French Revolution, the medal for Mint’s 120th anniversary, the logo for Issey Miyake and RHIGA Royal Hotels, and the package design for the French cigarette brand Gitanes Blondes (1995).

Film director and art director Nagi Noda was born in Tokyo and made a name for herself as one of the most important young Japanese designers. She first achieved fame as an art director, designing publicity for the print media and graphics for publishing and the music industry, before working for bigger clients such as Nike and the Laforet Harajuku department stores. Ikko Tanaka was born in 1930 in Nara. In 1950, at just 19 years old, he graduated from the Kyoto City School of Fine Arts (now the Kyoto University of Arts) and immediately afterwards started working for companies such as the Kanegafuchi textiles company and the Sankei Shinbun daily newspaper. He designed the signage and medals for the 1964 Tokyo Olympics and the pavilion dedicated to Japanese history at the 1970 Osaka Expo.

The first comprehensive, career-spanning monograph of NUNO, one of Japan’s most innovative and respected textile design studios

Named with a simple word meaning ‘cloth’, NUNO is one of Japan’s most important textile-design companies. Founded in 1984 by the legendary Junichi Arai and the company’s current director, Reiko Sudo, it is recognized as one of the world’s most innovative textile producers. Known for weaving together tradition and cutting-edge technology, NUNO designers are inspired by the past, present and future, integrating unexpected elements, such as paper or feathers or aluminium, with industrial methods, such as spatter-plating and chemical etching. All NUNO textiles – more than 2,500 have been created – are produced in Japan and are usually the handiwork of an individual craftsperson. Each bolt of cloth has a story to tell.

Though their textiles appear regularly in books, textile exhibitions and museum collections, a comprehensive NUNO monograph has not existed - until now. Featuring the most outstanding, influential or experimental fabrics, the book is organized into seven chapters, each based on a theme deriving from the onomatopoeic coupling in Japanese that defines a family of fabrics. For example, ‘Shima Shima’, meaning ‘striped’, presents striped designs ranging from bold and contrasting like zebra to subtly variegated like a tabby cat. Based on interviews, archival research and factory visits, the texts are illustrated with specially commissioned photos and drawings. Interspersed are essays by a wide range of contributors, from writer Haruki Murakami and architect Toyo Ito to curator Anna Jackson.

Bringing all the threads together in a beautifully designed package, NUNO is a document of exceptional beauty and a rare glimpse into the essence of Japanese design.

Contents List:

Foreword
Introduction
1. FUWA FUWA: Fuwa Fuwa by Haruki Murakami; Portrait of a Textile: Threadstray
2. SHIWA SHIWA: Shiwa Shiwa by Kenya Hara; Portrait of a Textile: Paper Rolls
3. SHIMA SHIMA: Stripes of All Colours by Brooke Hodge; Portrait of a Textile: Origami Weave
4. KIRA KIRA: Shining Within by Akane Teshigawara; Portrait of a Textile: Amate
5. SUKE SUKE: Three Transparencies by Toyo Ito; Portrait of a Textile: Turkish Wall
6. ZAWA ZAWA: Poems by Arto Lindsay; Portrait of a Textile: Jellyfish
7. BORO BORO: Essay by Anna Jackson; Portrait of a Textile: Colourplate On Colours
Chronology of Textiles
Acknowledgements
Biographies
Picture Credits

About the Authors:

Reiko Sudo is one of Japan’s most influential contemporary textile designers and managing director of NUNO. In recent years, she has become known as an advocate for textile artisans in Japan, creating designs that are technologically forward without diminishing the value of handicraft. Naomi Pollock is a design writer who lived and worked in Japan for over 30 years. Her most recent publication is Japanese Design Since 1945 (2020), also published by Thames & Hudson.

Modern by Tradition. A survey of Japan’s contemporary architecture scene

The contemporary architecture of Japan has long been among the most inventive in the world, recognized for sustainability and infinite creativity. No fewer than seven Japanese architects have won the Pritzker Prize.

Since Osaka World Expo ’70 brought contemporary forms center stage, Japan has been a key player in global architecture. With his intentionally limited vocabulary of geometric forms, Tadao Ando has since then put Japanese building on the world’s cultural map, establishing a bridge between East and West. In the wake of Ando’s mostly concrete buildings, figures like Kengo Kuma (Japan National Stadium intended for the Olympic Games, originally planned for 2020), Shigeru Ban (Mount Fuji World Heritage Center), and Kazuyo Sejima (Kanazawa Museum of 21st Century Art of Contemporary Art) pioneered a more sustainable approach. Younger generations have successfully developed new directions in Japanese architecture that are in harmony with nature and connected to traditional building. Rather than planning on the drawing board, the architects presented in this collection stand out for their endless search for forms, truly reacting on their environment.

Presenting the latest in Japanese building, this book reveals how this unique creativity is a fruit of Japan’s very particular situation that includes high population density, a modern, efficient economy, a long history, and the continual presence of disasters in the form of earthquakes. Accepting ambiguity, as seen in the evanescent reflections of Sejima’s Kanazawa Museum, or constant change and the threat of catastrophe is a key to understanding what makes Japanese architecture different from that of Europe or America.

This XL-sized book highlights 39 architects and 55 exceptional projects by Japanese masters — from Tadao Ando’s Shanghai Poly Theater, Shigeru Ban’s concert hall La Seine Musical, SANAA’S Grace Farms, Fumihiko Maki’s 4 World Trade Center, to Takashi Suo’s much smaller sustainable dental clinic. Each project is introduced with photos, original floor plans and technical drawings, as well as insightful descriptions and brief biographies. An elaborate essay traces the country’s building scene from the Metabolists to today and shows how the interaction of past, present, and future has earned contemporary Japanese architecture worldwide recognition.

The editor:

Philip Jodidio studied art history and economics at Harvard, and edited Connaissance des Arts for over 20 years. His TASCHEN books include the Architecture Now! series and monographs on Tadao Ando, Santiago Calatrava, Renzo Piano, Jean Nouvel, Shigeru Ban, Richard Meier, Zaha Hadid, and soon Norman Foster.

Showcases and analyses highlights from Van Gogh’s collection of Japanese prints, exploring the key role they played in his creative output

Here is a beautiful exploration of Van Gogh’s obsession with Japan, revealing a selection of the prints he owned himself (all from the Van Gogh Museum), side by side with his own paintings and sketches, including the Almond Blossoms masterpiece, The Courtesan, Plum Blossom and Bridge in the Rain. This opportunity to share Van Gogh’s vision lends us a compelling insight into one of the most powerful creative influences behind his art.

Vincent van Gogh fell under the spell of Japanese printmaking in Paris, where he purchased more than 600 prints from a dealer. He hung them in his studio, and they taught him a new way of looking at the world. Van Gogh liked the unusual spatial effects, the expanses of strong colour, the everyday subjects and the attention to details from nature. He was also keen to find a modern, more primitive kind of painting that engaged directly with the viewer. Japanese prints showed him the way, with nature still as his starting point.

About the Authors:

Axel Rüger is Director of the Van Gogh Museum.
Marije Vellekoop is the Van Gogh Museum’s Head of Collections, Research and Presentation.

Contents List:

1. Foreword by Axel Rüger, director Van Gogh Museum • 2. Van Gogh’s collection of Japanese prints: from commodities to a study collection and utopian ideal, Louis van Tilborgh • 3. The Van Gogh Museum’s collection of Japanese prints: an analysis, Chris Uhlenbeck • 4. Popular Collectibles in Van Gogh’s Time: Japanese Crepe Prints, Shigeru Oikawa • 5. A selection of 130 Japanese prints from the Van Gogh Museum collection