Norio Azuma and “The Art of the Print”: A 1969 Invitation from Fritz Eichenberg

On November 4, 1969, Norio Azuma received a letter from Fritz Eichenberg, one of the most respected printmakers and illustrators of the twentieth century. Writing as editor of Artist’s Proof: The Annual of Prints and Printmaking, and on behalf of Harry N. Abrams, Inc., Eichenberg extended an invitation to Azuma to contribute to a forthcoming book titled “The Art of the Print.” The project aimed to feature personal statements from leading contemporary printmakers—artists who defined the evolving visual language of modern printmaking.

In his letter, Eichenberg expressed genuine admiration and curiosity about Azuma’s technical mastery:

“I would be most interested to have from you a description of your approach to silkscreen, including any technical details which distinguish your work.”

This request places Azuma among an elite group of artists whose voices were sought not only for their creative vision but for their authority in technique and innovation. Silkscreen, or serigraphy, was at the time an increasingly important medium—bridging fine art and modern design, utilized by figures such as Andy Warhol, Josef Albers, and Richard Anuszkiewicz. Eichenberg’s invitation confirms that Norio Azuma’s work stood on equal intellectual and aesthetic footing within this distinguished company.

Azuma’s contributions to silkscreen printmaking were characterized by their balance of precision and emotion, a synthesis of Eastern restraint and Western abstraction. His geometric compositions carried an inner harmony that transcended the medium’s mechanical nature. Eichenberg’s recognition of these qualities—alongside his request for Azuma’s insights into process—suggests a deep professional respect. It also demonstrates how Azuma’s influence extended beyond exhibition spaces into the educational and critical discourse of art publishing.

The Artist’s Proof series, published through Pratt Graphics Center in New York, was a cornerstone of postwar printmaking culture, featuring essays, interviews, and prints by contemporary masters. For Azuma to be considered for inclusion by Fritz Eichenberg himself was a testament to his growing reputation in both American and international circles. The letter further reveals how Azuma’s studio at 276 Riverside Drive served as a creative hub, recognized by curators, editors, and gallery directors alike.

This 1969 correspondence stands as a pivotal document in Norio Azuma’s career, capturing a moment when his artistry intersected with the broader evolution of modern printmaking. Eichenberg’s tone—formal yet personal—reflects admiration not just for Azuma’s finished works, but for his intellectual understanding of process, precision, and form.

Today, this letter remains a valuable artifact of mutual respect between two major figures in twentieth-century art. It reminds us that Azuma’s work was not merely admired—it was studied, documented, and sought after as part of the historical record of contemporary printmaking.