Museo Thyssen-Bornemisza - Inicio

Versión española

Buy tickets

Vogue like a painting

From 30 June to 12 October 2015

Early booking is recommended

Peter Lindbergh
One enchanted evening, Taormina, Sicilia (detail)

Zurbarán. A New Perspective

From 9 June to 13 September 2015

Extended summer hours

Francisco de Zurbarán
Saint Serapion, 1628
Oil on canvas, 120.2 x 104 cm
Hartford, Wadsworth Atheneum Museum of Art, CT.
The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

Thyssen-Bornemisza Collection

Charles Ephraim Burchfield
July Drought Sun
Watercolour on paper
114.3 x 137.2 cm
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 483 (1977.88)

More information about this work

Edward Hopper wrote in an article about his friend Charles Burchfield that this painter’s work was “most decidedly founded not on art, but on life.” Both artists are held to be pioneers of the so-called American Scene, even though each subscribed to a very different brand of realism. Whereas Hopper’s realism always had a critical and sentimental bias, Burchfield’s art displays two opposite tendencies: a realism that criticises the unstoppable industrialization of the modern age, and a certain romantic spirit that exalts the hidden forces of nature.

July Drought Sun is an example of the personal, fanciful style developed by Burchfield in order to represent nature’s deepest mysteries. He began working on the painting in 1949, while teaching at the University of Minnesota in Duluth, where he met the Finnish editor of a local newspaper who described to him the views of the countryside and nature portrayed by many writers from this Scandinavian country, further heightening Burchfield’s own interest in the seasons and climatic conditions. In this summer landscape, the foreground vegetation in shades of brown is withering and parched, while the lake on the horizon appears to be evaporating in the July heat. The sun itself, painted bright orange, blazes intensely and powerfully, beating down on the dry landscape with its rays. Here the watercolours are applied in short, dynamic strokes that disturb the calm of the scenery and convey a feeling of unrest. Burchfield, a refined watercolourist, often used this technique to give expression to his impressions of nature on large sheets of paper.

Paloma Alarcó

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

We use our own cookies and those of third-parties to analyze the use of our website and display personalized advertising. If you continue browsing, we will consider that you consented to its use. For more information see our Cookie Policy.