Exhibitions Share Tweet

 
Charles E. Burchfield (1893-1967), Song of the Veery, from the folder, In the Deep Woods, circa 1956; conté crayon on paper; Charles E. Burchfield Foundation Archives, Gift of the Charles E. Burchfield Foundation, 2006

Charles E. Burchfield (1893-1967), Song of the Veery, from the folder, In the Deep Woods, circa 1956; conté crayon on paper; Charles E. Burchfield Foundation Archives, Gift of the Charles E. Burchfield Foundation, 2006

Birdsong: Audio-Visual Art by Charles E. Burchfield

On View Friday, April 10–Sunday, June 28, 2020

Anthony J. Sisti Gallery    Charles E. Burchfield Rotunda    John R. Oishei Foundation Gallery   

Charles Burchfield loved birds. He delighted in greeting harbingers of spring, camouflaged woodland warblers, and raucous crows, to name just a few. Journal entries recount his sightings as well as birdsongs—especially when they could be heard, but not seen. In all seasons, birds appear as both major subjects and compositional elements of his paintings, drawings, wallpapers, prints, and doodles.

As a teenager Burchfield admired the writings of naturalist John Burroughs and transcendentalist Henry David Thoreau, which shaped his personal philosophy. In following years, he encountered the travel journals of naturalist and environmental preservationist John Muir and ornithologist John James Audubon, with whom he closely identified. This literature, together with his own observations, influenced Burchfield to make birds an essential part of his art repertoire. He depicted them realistically as well as abstractly, and he explored ways to represent their birdsongs in pictorial form.

During a period of uninhibited experimentation in 1917, when Burchfield created “Conventions for Abstract Thoughts” to convey human emotions, he also represented sounds with visual motifs that Burchfield Scholar Nancy Weekly calls “audio-cryptograms.” Having studied Burchfield for decades, Weekly—whose compelling presentations were accepted by members of the American Synesthesia Association—believe that the artist was synesthetic. Synesthesia is a fascinating neurological phenomenon that occurs when a stimulus in one sense (such as hearing) simultaneously evokes a sensation in another sense (like seeing). Literally, the word “synesthesia” means to perceive (esthesia) together (syn)—as defined by Cretien van Campen in The Hidden Sense: Synesthesia in Art and Science (2008). For Burchfield this meant that he perceived and visually translated motifs and colors for the sounds of birds and insects, as well as factory and train whistles, and phrases of musical compositions by Beethoven, Sibelius, and Mozart. Writing poetically about birdsongs from his earliest days of journaling, Burchfield soon incorporated the songs of the tufted titmouse (popularly known as the “Peterbird” for its peter-peter call), and dozens of other birds, including crows, robins, sparrows, cardinals, wood thrushes, blue jays, hawks, goldfinches and many more.

This exhibition, curated by Ms. Weekly, features a variety of media, including paintings and never-before-seen drawings from our collection in which Burchfield works out how he wants to represent each unique birdsong—a visual audio-guide to pay homage to the uplifting sounds of nature. Thanks to the generosity of the Charles E. Burchfield Foundation, the Center has an archive of 24,000 Burchfield studies that provide insight into his working methodology and nature studies. To place Burchfield’s art in context, the exhibition also includes plates from John James Audubon’s double elephant folio of Birds of America on loan from the Buffalo & Erie County Public Library and mounted ornithology specimens from the Buffalo Museum of Science. Works from private and public collections include loans from anonymous lenders, the Malof Family, Grace Meibohm, and Menconi + Schoelkopf in New York City. Related naturalist programs will enhance the exhibition during its two and a half-month presentation.