Charles E. Burchfield
Charles E. Burchfield | |
|---|---|
| Nationality | American |
| Known for | Watercolor |
Charles Ephraim Burchfield (April 9, 1893 - January 10, 1967) is an American visionary artist. A watercolor painter from Ohio, Burchfield is known for his visual commentaries on the effects of Industrialism on small town America as well as for his paintings of nature. His paintings are in the collections of many major museums in the USA and have been the subject of exhibitions at the Metropolitan Museum of Art, the Whitney Museum of American Art and the Museum of Modern Art as well as other prominent institutions.
Life
Born in Ashtabula Harbor, Burchfield was raised by his mother in Salem, Ohio. Most of his early works were done at this house, where he lived from the ages of five to 28, and which has since been converted into a museum. He graduated from the Cleveland Institute of Art in 1916. Later he acknowledge the effect on him as an artist by artist and teacher Henry Keller[1]. Keller led a generation of Ohio watercolor painters of the Cleveland School which included Burchfield.
On becoming engaged, Burchfield moved to Buffalo, New York in 1921, where he was employed as a designer at the H.M. Birge wallpaper company. The following year he married Bertha Kenreich in Greenford, Ohio. In 1928 with a fifth child on the way, he approached artist-gallerist Frank Rehn to see whether he could afford to paint full-time by selling through the Rehn gallery in New York. Though the decision to leave Birge preceded the Great Depression works continued to sell.[2]
In 1925, Burchfield had moved from Buffalo to the adjacent suburb of West Seneca, New York, spending the rest of his life in the rural neighborhood of Gardenville.
Work
According to Burchfield's friend and colleague Edward Hopper, "The work of Charles Burchfield is most decidedly founded, not on art, but on life, and the life that he knows and loves best." Burchfield has been more recently described as "the mystic, cryptic painter of transcendental landscapes, trees with telekinetic halos, and haunted houses emanating ectoplasmic auras."[3] Salter suggests his influences as van Gogh, Caspar David Friedrich, Marsden Hartley, John Marin, "calendar art, and Sunday painting." Like Hopper, he seemed to have left cubism out of the equation.[4]
His work is usually divided into three periods which included figuration (typically insects and frogs), houses and small town scenes; and abstractions depicting moods (frequently morbid and fearful). Cicada sounds are depicted with zigzag strokes radiating outward, and flowers and houses seem to have faces, not always pleasant.
Early work
Assigned to the camouflage unit in the Army in 1918, he even worked his designs into painting schemes disguising tanks and artificial hills. Biographers note his exposure to modernist European art trends and traditional Chinese painting while in art school but overlook that the hallucinatory quality in his work may be partly traced to an episode of nervous exhaustion in 1911 while a junior in high school. Determined to record all the area's flowering plants that spring, he stayed up late at night painting whole bouquets of the blooms and had a bout of what was referred to at the time as "brain fever," which might now be termed mania. He seems to have learned to use it as source of energy and inspiration, and his school transcript records only three days' absence that semester. Painting constantly from 1915, even while working full time in summer and after college, he sketched on walks to and from home at lunchtime and completed paintings based on them at night. Half of his lifetime output of paintings was produced while living in Salem from 1915 to 1917. The fact that so many paintings of this period were depictions of scenes visible from the windows of his boyhood home prompted Henry Adams, curator of drawings at the Cleveland Museum of Art, to call it "the most important house in American art history."
Middle
In his middle period, from 1919 until 1943, he depicted small-town and industrial scenes that put him in the category of the American Scene or Regionalist movement. These large paintings have a solid look unusual in watercolors, resembling oil paintings, and they are the works most often seen in art history texts. Though one critic commented that Burchfield was "Edward Hopper on a rainy day," a 1936 Life Magazine article named him one of America's 10 greatest painters.
Late
In his late period, from 1943 on, possibly facing a psychological crisis as he turned 50, he returned to the preoccupations of the early work, incorporating the painting skills he had mastered during his middle period (which he eventually saw as a "diversion" from his true path), and developed large, hallucinatory renditions of nature captured in swirling strokes, heightened colors and exaggerated forms. In his writings he expressed an aim to depict an earlier era in the history of human consciousness when man saw gods and spirits in natural objects and forces, and art historian and critic John Canaday predicted in a 1966 New York Times review that the grandeur and power of these pictures would be Burchfield's enduring achievement.
Legacy
The Charles Burchfield Center at Buffalo State College was dedicated in his honor in 1966. It was re-named The Burchfield Art Center in 1983 with an expanded mission to support a multi-arts focus. Between 1991 and 1994, the museum received a series of gifts from Charles Rand Penney, Ph. D., of more than 1,300 works by Western New York artists. Included in that gift were 183 works by Charles E. Burchfield. In honor of such a substantial donation the museum was again re-named as The Burchfield-Penney Art Center.
Of his current legacy, Saltzer writes that "Consciously or not, recent painters like Peter Doig, Verne Dawson, Gregory Amenoff, Kurt Lightner, and Ellen Altfest are channeling bits of Burchfield's visionary vibe."[5]
Museums containing Burchfield works
- Burchfield-Penney Art Center, Buffalo State College, Buffalo, New York. The Burchfield-Penney Art Center holds the world's largest collection of Charles E. Burchfield paintings, studio objects and Burchfield memorabilia.
- Amon Carter Museum, Fort Worth, Texas
- Butler Institute of American Art, Youngstown, Ohio
- Cleveland Museum of Art, Cleveland, Ohio
- Everson Museum of Art, Syracuse, New York
- Memphis Brooks Museum of Art, Memphis, Tennessee
- Metropolitan Museum of Art, New York, New York
- Munson-Williams-Proctor Arts Institute, Utica, New York
- Museum of Modern Art, New York, New York
- Smithsonian American Art Museum, Washington, DC
- Wadsworth Atheneum, Hartford, Connecticut
- Whitney Museum of American Art, New York, New York
- Vero Beach Museum of Art, Vero Beach, Florida
References
- ^ [http://www.aaa.si.edu/collections/oralhistories/transcripts/burchf59.htm Smithsonian - Oral History interview with John D. Morse, August 1959
- ^ Morse ibid
- ^ the Village Voice, "Mystic cryptic revelations" by Jerry Saltzer, Dec 13, 2005
- ^ Saltzer ibid
- ^ Saltzer ibid