Not on view
Date
1916
Classification
Drawings
Medium
Watercolor and graphite pencil on paper
Dimensions
Sheet (Irregular): 20 × 13 15/16 in. (50.8 × 35.4 cm)
Accession number
2002.331
Credit line
Purchase, with funds from the Drawing Committee
Rights and reproductions
Reproduced with permission from the Charles E. Burchfield Foundation and the Burchfield Penney Art Center.
Exhibitions
Installation photography
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Installation view of At the Dawn of a New Age: Early Twentieth-Century American Modernism (Whitney Museum of American Art, New York, May 4, 2022-January 2023). From left to right: Charles Burchfield, Sunlight in Forest, 1916; Oscar Bluemner, #8. June – Moon, 1927; Arthur Dove, Plant Forms, 1912; John Marin, White Horses – Sea Movement off Deer Isle, 1926; Joseph Stella, Der Rosenkavalier, 1913-14; Agnes Pelton, Sea Change, 1931; Henrietta Stone, Trail of Life, 1923; Yun Gee, Street Scene, 1926; Chiura Obata, Silence, Last Twilight on an Unknown Lake, Johnson Peak, 1930. Photograph by Ron Amstutz
From the exhibition At the Dawn of a New Age: Early Twentieth-Century American Modernism
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Installation view of At the Dawn of a New Age: Early Twentieth-Century American Modernism (Whitney Museum of American Art, New York, May 4, 2022–January 2023). From left to right: Charles G. Shaw, Self Portrait, c. 1930; Elie Nadelman, Standing Female Figure, c. 1925-26; Elie Nadelman, Standing Female Figure, c. 1925-26; Charles Burchfield, Sunlight in Forest, 1916; Oscar Bluemner, #8. June - Moon, 1927; Arthur Dove, Plant Forms, c. 1912; John Marin, White Horses - Sea Movement off Deer Isle, Maine, 1926; Stanton Macdonald-Wright, Oriental - Synchromy in Blue-Green, 1918; Richmond Barthé, African Dancer, 1933; Jay Van Everen, Abstract Landscape, c. 1924; Arthur B. Davies, Day of Good Fortune, c. 1914; Joseph Stella, Der Rosenkavalier, 1913-14; Carl Newman, Untitled (Bathers), c. 1917; Albert Bloch, Mountain, 1916; Yun Gee, Street Scene, 1926; Chiura Obata, Silence, Last Twilight on an Unknown Lake, Johnson Peak, 1930. Photograph by Ron Amstutz
From the exhibition At the Dawn of a New Age: Early Twentieth-Century American Modernism