Word: burchfields
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Warm Embrace. The only topnotch painter shown at peak performance was Buffalo's Charles Burchfield, who had somehow managed to slip a watercolor into an exhibition of oils. His Dark Ravine was menacing as an abyss by Fuseli, but richer, and lacking all pretension...
None of the younger men's watercolors could match those exhibited by oldtimers Charles Burchfield and John Marin, but there were a few that came close. Dong Kingman's rich, elaborate House Boat, an artful jumble of calligraphs set in perspective, was lively and bright as a flag-draped avenue on a windy day. Lawrence Kupferman's luminous underwater abstraction, Genesis of Growth, had all the minute fascination of a rocky tide pool...
...painter of the American scene, Hopper has only one peer, Buffalo's Charles Burchfield. Like Burchfield, Hopper can make even eyesores magnificent. Shorn of irrelevant details, stripped of sentimental gloss, dismantled and recast in his canvases, they become monuments to their time...
...best in the show, a tempera House by the Seashore (see cut) by the University of Wisconsin's Ray Obermayr, owed an obvious debt to the two living U.S. masters: Charles Burchfield and Edward Hopper. It struck a low blue note characteristic of the exhibition as a whole. Buffalo's Hubert Raczka had painted a lonely little figure through the bars of a fire escape, called it Insignificance. The Portland Museum School's Robert Galaher had wrapped his hulking Circus Worker in a sad, smokelike haze, and Milwaukee's John Pagac had contributed a fatly photographic...
...Charles Burchfield. 5. Winslow Homer...