I was his first PhD student long ago and his teachings have definitely impacted my approach to the study of  Japanese art over many decades. As you noted, Steve was a natural communicator, whether it was in his music or the way he wrote about art and, especially calligraphy. He taught us grad students so many useful skills, some seemingly peripheral to the study of Japanese art but which have proved extremely useful over time. He was a fine photographer of art and I recall sessions he led for us on how to do art photography. I credit him in large part for my attention to detail in photography to this day. He also taught us how to present papers at conferences, and sat through and critiqued many dry-runs of talks to make sure we learned how to get the timing right on slide transitions and stay within our given time limits. In addition, he helped me become a better writer by closely reading my dissertation and some early career article drafts to make sure they were readable (ie. jargon-free) so as to be understood by educated non-specialists, which is something I continue to strive for. And finally, he taught essential skills for advanced study through a connoisseurship-based approach of Japanese painting and calligraphy. Although some consider this approach out of fashion today, these skills remain essential, because any study of art must start with analysis of authentic works. At the end of his career, I was privileged to write about Obaku and sencha for Paul Moss’ catalogue to which Steve contributed a wonderful essay and also an extensive bibliography on writings about baku arts. I was happy to be able to help him then, by gently editing his writing, something I never expected to do but for which he seemed most grateful.

Pat Graham

Patricia J. Graham, PhD, Certified Appraiser, Appraisers Association of America