Abstract
Four brightly colored calligraphic prints from the “Poem” series (1970/71) by Japanese artist Haku Maki (1924–2000) were examined using multiple light-based analytical techniques in an effort to address conservation concerns regarding these artworks. A distracting white haze on the surface of some of the prints was determined by light microscopy and infrared microanalysis to be fungal mycelium from an inactive mold infestation that occurred prior to the artwork’s acquisition by the museum. Pigment analysis by Raman, X-ray fluorescence, and infrared microspectroscopies identified the artist’s palette as containing common printing ink colors such as aniline black (PBk1), carbon black (PBk7), phthalocyanine blue (PB15), Prussian blue (PB27), ultramarine blue (PB29), molybdate orange (PR104), chrome yellow (PY34), barium yellow (PY31), viridian (PG17), barium sulphate (PW21), and synthetic organic red pigments (PR3, PR22, PR48:3). Although aniline black and molybdate orange are common industrial pigments, reference vibrational spectra to assist in their identification have not appeared previously in the conservation literature. Moreover, this investigation includes to the authors’ knowledge the first published identification of these pigments in a work of fine art. Haku Maki’s unique ‘cement-on-woodblock’ printing technique in combination with his vibrant palette creates dynamic, embossed effects in these prints. However, lightfastness testing using a microfade tester identified the potential for light-based damage to the artwork, in some instances showing poorer lightfastness for colors reported to be stable pigments and greater stability than anticipated for others. These analyses are the first objective study of this innovative artist’s material choices, and they enhance our understanding of his printing technique while helping to determine the proper stewardship protocols to protect his artistic legacy.
Highlights
Maejima Tadaaki (1924–2000), known since 1950 as Haku Maki, established himself in the canon of Japanese printmakers by producing prints of modified Chinese characters in brilliant, contrasting colors using an unusual embossing technique [1]
A small collection of his prints was gifted to the Indianapolis Museum of Art (IMA) in 2013, and four of his works from the “Poem” series (Fig. 1) were recently investigated to understand their state of preservation and to learn more about the materials of this innovative artist
Optical microscopy Stereomicroscopy was performed at low magnification (7.5× to 150×) on a Zeiss Discovery V20 microscope while inspection at higher magnification was performed in transmission mode on a Zeiss AxioImager M2m compound microscope
Summary
Maejima Tadaaki (1924–2000), known since 1950 as Haku Maki, established himself in the canon of Japanese printmakers by producing prints of modified Chinese characters (kanji) in brilliant, contrasting colors using an unusual embossing technique [1]. This research considers issues of light in both appreciating and protecting these brightly colored artworks, while demonstrating the application of light-based technologies for the analysis of art These “Poem” prints are part of a distinctive artistic group of works created in the late 1960s to early 1970s, a period when Maki’s key work, Festive Wine, was receiving international recognition [1]. The series bears the striking contrast of colors, dramatic embossing, and innovative textural effects that are hallmarks of Maki’s prints, bringing his ancient subject matter into a modern print vernacular These visual properties were created using a printmaking technique that involved building up cement around the carved designs on a traditionally prepared woodblock [2].
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