Aux grandes étapes de l’évolution des idées en botanique sont intimement liés des livres et leurs auteurs, mais aussi le progrès dans la représentation des plantes. Celle-ci combine ce que l’auteur exprime dans son texte et ce que les artistes, dessinateur et graveur, montrent dans l’image. L’image est indissociable du texte. A travers des livres marquants, cet article relate l’histoire de l’illustration des fleurs dans les livres de botanique des débuts de l’imprimerie au XIXe siècle. Les progrès des connaissances sont accompagnés de ceux des techniques d’illustration. L’illustration des plantes et des fleurs est de plus en plus précise et détaillée. Si elle couvre de plus en plus la diversité du végétal sur tous les continents, elle est aussi de plus en plus esthétique et artistique.
First printed in 1831, ‘Red Fuji’ by Hokusai is one the most iconic Japanese woodblock prints and thousands of impressions were printed from its original set of woodblocks, often in different colour schemes and using different printing effects for different editions. The aim of our research was to systematically study these variations and determine the chronological order in which they had been introduced. First, we located 93 surviving impressions of Red Fuji in museums, libraries, private collections and galleries around the world. We carefully studied the breaks in the outlines caused by woodblock wear, as well as the variations in colour and printing effects. Then, we investigated how the print was produced using woodblocks: we determined what part of the print was produced by each woodblock, if a woodblock had been used more than once in specific parts of the print and what printing effects the printer(s) employed. We also identified the colourants on ten impressions of Red Fuji from different editions using Xray fluorescence, multispectral imaging, fibre optics reflectance spectroscopy and excitation–emission matrix fluorescence spectroscopy. Based on the breaks in the woodblocks, the colour schemes and the printing effects, we concluded that there were five sequential ‘states’ of Red Fuji. The first state corresponds to the earliest surviving edition, whose impressions have very little evidence of woodblock wear and were produced using muted colours and complex printing effects, while the last state is a rare blue variant, ‘Blue Fuji’, for which the printer(s) used a completely different colour palette and complex printing effects. This research represents the first systematic study of the production chronology of a Japanese woodblock print, based on woodblock wear, colour scheme and printing effects.
This article addresses the theme of utopian and dystopian futures as transmitted to us through philosophy and fiction (literature and cinema), and shows how these notions help us to think about evolution. It proposes a historical exploration of the terms "utopia" and "dystopia", with examples from literature, philosophy and cinema. The article also stresses the importance of rehabilitating utopia as a means of inventing a radically different future.