The Great Wave off Kanagawa made from material Prussian blue
The Great Wave off Kanagawa (Japanese: 神奈川沖浪裏, Hepburn: Kanagawa-oki Nami Ura, lit. 'Under the Wave off Kanagawa') is a woodblock print by Japanese ukiyo-e artist Hokusai, created in late 1831 during the Edo period of Japanese history. The print depicts three boats moving through a storm-tossed sea, with a large wave forming a spiral in the centre and Mount Fuji visible in the background.
The print is Hokusai's best-known work and the first in his series Thirty-six Views of Mount Fuji, in which the use of Prussian blue revolutionized Japanese prints. The composition of The Great Wave is a synthesis of traditional Japanese prints and use of  graphical perspective developed in Europe, and earned him immediate success in Japan and later in Europe, where Hokusai's art inspired works by the Impressionists. Several museums throughout the world hold copies of The Great Wave, many of which came from 19th-century private collections of Japanese prints.
The Great Wave off Kanagawa has been described as "possibly the most reproduced image in the history of all art", as well as being a contender for the "most famous artwork in Japanese history". It has influenced several notable artists and musicians, including Vincent van Gogh, Claude Debussy, Claude Monet, and Hiroshige.The "blue revolution"
During the 1830s, Hokusai's prints underwent a "blue revolution", in which he made extensive use of the dark-blue pigment Prussian blue. He used this shade of blue for The Great Wave off Kanagawa rather than indigo, the delicate, quickly fading shade of blue that was commonly used in ukiyo-e works at the time. Prussian blue, which is known in Japanese as berorin ai, was imported from Holland beginning in 1820, and was extensively used by Hiroshige and Hokusai after its arrival in Japan in large quantities in 1829.The first 10 prints in the series, including The Great Wave off Kanagawa, are among the first Japanese prints to feature Prussian blue, which was most likely suggested to the publisher in 1830. This innovation was an immediate success. In early January 1831, Hokusai's publisher Nishimuraya Yohachi (Eijudō) widely advertised the innovation, and the following year published the next 10 prints in the Thirty-six Views of Mount Fuji series, and unique for their predominantly-blue aizuri-e style, with Kōshū Kajikazawa ("Kajikazawa in Kai Province") being a notable example. The outlines on these 10 supplementary prints, known collectively as ura Fuji ("Fuji seen from behind"), are sumi black with India ink rather than Prussian blue.
constructed from material fabricated from material composed of material formed from material manufactured from material