b'around her nose and eyes. The female figure, who bears a strong resemblance to Evelyn, is sensitively rendered and makes eye contact with the viewer. The etched lines are supple and flexible, particularly in the hair that floats around her face, and her collar is delicately filled in with short strokes of drypoint. The childs face is ghostly: simply a set of eyes, nose, and lips hovering over the womans shoulder, against a cleanly wiped area. There is a protective cast to the womans gaze and a sense of fragile wonder on the childs. Oddly, there are three hands depicted: two clasped below the womans collar and a single fist held aloft at center. The hands are too big to be the childs, indicating, perhaps, the presence (or absence) of a third personperhaps the missing father/artist. While he learned much from his time in Iowa and owed a debt to Lasanskys work and teaching, it seems clear that Makuuchi did not really connect with his teacher and was not a member of his inner circle. Makuuchi did not participate in the activities of the Iowa Print Group, the unofficial name of the department, under which Lasansky and some of his students exhibited beginning in 1947. 44Makuuchis work is not represented in the Iowa Print Group Archive, and his name is misspelled in the groups archival records as Munio Makouchi. This distance is reflected in the tepid recommendation he received from Lasansky: I worked with Munio Makuuchi for three years, in which time I had a chance to see him develop steadily as a printmaker. He has imagination and is quite sensitive. These noncommittal comments and Lasankys ambiguous use of the term sensitive may also signal that Makuuchi was less than responsive to Lasanskys method of challenging his students and waiting for them to lead the way forward. This is also reflected in Makuuchis work from his time in Iowa, which shows technical advancement but not a definitively clear vision.FIGURE \x07 My Son, My Son CHECKLIST #13After completing his degree, and with his marriage dissolved, Makuuchi first relocated to Rochester, New York, teaching art at East High school in the spring of 1965. He then enrolled at the University of Pennsylvania for more printmaking study that fall. It is likely that this was suggested by Lasansky as a way for Makuuchi to gain more focused experience. According to a 1967 recommendation by painter Angelo Savelli, Makuuchi also studied painting and experimented with color (fig. 18). Savelli described Makuuchis work during this period as violent and autobiographical at first, later more and more subdued and reduced to very few and subtle colors. Makuuchis time in Philadelphia was not a success, and he withdrew from the program after one year. He later remarked that the pre-vailing aesthetic at Penn was impersonal. They did not want to see the human persona, they felt emotions were ugly. They wanted a mathematical computer cleanness. Despite his bitterness with his experiences in Philadelphia, he subsequently reflected that he absorbed a sense of spatial construction thatFIGURE \x06 Untitled, ca. 1967. Oil on canvas, size and whereabouts unknown. Image courtesy Jamie and Constance Makuuchi.34 35'