Lynx Woods

Charles Burchfield (1893-1967)


Watercolor, Pencil, and White Chalk Paper Laid down on Board
32 3/4 x 39 1/2 inches
Lower left: C.E. Burchfield Foundation Stamp, no 32.

Ever since I first saw a great Burchfield painting, I have loved both his work and the man behind it. How could you not love someone who paints his dreams, who brings you back to the wonder felt as a child walking through a corn field hearing the noise of the crickets and at night the beauty of the fireflies?

Holland Cotter writes:

“It was in childhood that he discovered nature, both blissful and frightening, and in childhood that he felt most whole. Over and over, he tried to recapture this state of integrity and innocence by creating landscapes filled with a light that has an almost olfactory ability to stir the deepest sense memories. As with any number of stylistically nonaligned American artists, it is as easy to over praise Burchfield as to undervalue him, and both responses come from applying the wrong criteria. He is probably too thoroughly steeped in his native culture to be of international interest, yet as a distinctive homegrown visionary, he deserves to be revered.”

New York Times, review of the “Sacred Woods” exhibition, 2010

Lynx Woods