Known in France around 1860, Ukiyo-e prints had an immediate influence on the vision and the craft of painters. First, Theodore Rousseau and Millet and then Whistler, Manet, and mainly Degas were profoundly affected. Asymmetrical compositions, scenes and landscapes represented from above or below, figures shown in close-up, pale palette, flat areas of color, the replacement of Albertian perspective with the system of opposed diagonals: all these innovations were taken up by the Impressionists, particularly Monet, who learned moreover not to reduce the scene he was painting to the limits of the canvas, and absorbed a pantheistic feeling for nature contrary to traditional Western humanism. Japanese graphic art had a continuing influence on French painting from the Post-Impressionists to the Nabis and the Fauves, as well as on the work of Ensor, Munch, Klimt and others. After the Renaissance rediscovery of ancient art, nothing had so influenced European painting as Japanese prints. (From Les Fauves; a sourcebook. Westport, Greenwood Press, 1994)
As you now know, one annotation does not fit all purposes! There are different kinds of annotations, depending on what might be most important for your reader to learn about a source. Your assignments will usually make it clear which citation format you need to use, but they may not always specify which type of annotation to employ. In that case, you’ll either need to pick your instructor’s brain a little to see what she wants or use clue words from the assignment itself to make a decision. For instance, the assignment may tell you that your annotative bibliography should give evidence proving an analytical understanding of the sources you’ve used. The word analytical clues you in to the idea that you must evaluate the sources you’re working with and provide some kind of critique.