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...Walter Stuempfig has earned a niche for himself as one of the nation's foremost "romantic" painters (TIME, Dec. 12, 1949). The subject of much of his romanticism: the streets and suburban landscapes of his native Pennsylvania. Last week the prize exhibit of Stuempfig's latest Manhattan show was a big, misty view of a town he has been painting for two decades...

Author: /time Magazine | Title: Art: Pennsylvania Romantic | 12/24/1951 | See Source »

Norristown (wrongly identified as Conshohocken in the exhibition catalogue), ten miles from Stuempfig's Chestnut Hill home, is far from romantic to the unpracticed eye. But by painting it from a vantage point overlooking the Schuylkill River, Stuempfig has thrown new light on its smoke-darkened silhouettes. Using a mixed technique of tempera with oil glazes on heavy canvas, Stuempfig gradually built a spacious river town veiled in a warm and somehow sad early morning dimness. The neo-classical composition recalls Corot's Italian landscapes, and its distant, county-courthouse dome might almost be mistaken for St. Peter...

Author: /time Magazine | Title: Art: Pennsylvania Romantic | 12/24/1951 | See Source »

...Stuempfig shuns modern experiments, keeps a reproduction of a Corot in his studio, and constantly combs his own neighborhood for moving, nostalgic subjects. Asked why his landscapes so often look sad, he replies: "Maybe it's because even the landscape isn't safe any more, what with these new turnpikes and everything...

Author: /time Magazine | Title: Art: Pennsylvania Romantic | 12/24/1951 | See Source »

...pictures in last week's show were not in the least moving, and they were the ones that proved how cold, competent and clear-eyed a painter Stuempfig is when he chooses not to be romantic. Dark, highly polished still lifes of vegetables on a table, they were so expertly done as to invite comparison with the 18th Century French master, Jean Baptiste Chardin...

Author: /time Magazine | Title: Art: The Romantic Mood | 12/12/1949 | See Source »

Loathe Labels. Like any artist worth the name, Stuempfig loathes labels. He accepts the label "romantic" only because he believes that "all good painters are romantic painters. You have to have a certain romantic approach to life or you wouldn't be a painter in the first place. I can't define the word; to me it applies even to Thomas Eakins and Velasquez...

Author: /time Magazine | Title: Art: The Romantic Mood | 12/12/1949 | See Source »

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