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Charles Ragland BunnellWPA 1940s Framed Figurative Village Landscape with Figures, Houses & Mountains1940
1940
About the Item
This evocative watercolor painting, titled The Way War First Comes (1940), was created by noted American artist Charles Ragland Bunnell (1897-1968) during the Depression era. The piece captures a dramatic outdoor village scene, reflecting Bunnell’s unique ability to intertwine landscape with the broader human experience. The painting is presented in a custom black frame with archival materials to preserve its integrity, with outer dimensions of 26 x 35 ½ x ⅝ inches, and an image size of 15 ¼ x 24 ⅝ inches.
Provenance: Private Collection, Colorado
About the Artist:
Charles Ragland Bunnell, often referred to as “Charlie,” was an American artist whose work spanned multiple styles throughout his career. Known for his versatility, Bunnell believed in constantly evolving his artistic approach, famously stating, “I’ve got to paint a thousand different ways.” His career saw him explore both representational and abstract forms, making him one of the few Colorado artists to incorporate modern trends from New York and Europe after World War II.
Although Bunnell did not receive widespread critical acclaim during his lifetime, his work garnered significant recognition, especially in the late 1940s when his painting Why? was chosen by curator Katherine Kuh for an important exhibition of abstract and surrealist art at the Art Institute of Chicago. His art was featured in traveling shows to ten other American museums, marking a high point in his career.
Born in Kansas City, Bunnell moved to Colorado Springs in 1917, where he would spend the majority of his life. After serving in World War I, Bunnell pursued commercial art and later studied at the Broadmoor Art Academy. His studies with renowned artists like Birger Sandzén and Ernest Lawson influenced his distinctive landscape work. In the 1930s, he began painting Colorado’s mining towns and valleys, contrasting the grandeur of mountain scenery with stark industrial subjects.
Bunnell’s involvement with New Deal art projects, including the Treasury Relief Art Project and Federal Art Project, shaped much of his work during the Great Depression. His early engagement with these programs, especially his murals for Colorado Springs schools, reflects his commitment to the American Scene style.
As the years progressed, Bunnell’s work evolved into more abstract forms, influenced by his personal experiences and the tumultuous events of the time, including the loss of his son and the impact of World War II. His later abstract works, such as the Black and Blue series, were deeply spiritual, drawing on diverse philosophies and offering a window into the artist’s evolving emotional and intellectual journey.
A dedicated teacher, Bunnell continued to mentor younger artists throughout his life, sharing his knowledge and encouraging experimentation. His legacy includes solo exhibitions at prestigious institutions like the Kansas City Art Institute, New Mexico Museum of Art, and the Colorado Springs Fine Arts Center.
Bunnell’s work can be found in major collections across the United States, including the Denver Art Museum, Art Institute of Chicago, and Colorado Springs Fine Arts Center, among others.
- Creator:Charles Ragland Bunnell (1897-1968, American)
- Creation Year:1940
- Dimensions:Height: 26 in (66.04 cm)Width: 35.5 in (90.17 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Denver, CO
- Reference Number:Seller: 258591stDibs: LU27310432072
Charles Ragland Bunnell
Charles Bunnell developed a love for art at a very young age. As a child in Kansas City, Missouri, he spent much of his time drawing. When he was unable to find paper he drew on walls and in the margins of textbooks for which he was often fined. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer. He studied with Ernest Lawson in 1927-1928 and, in the winter of 1928-1929, he served as Lawson’s assistant. In the late 1920’s, the Bunnell’s settled just west of Colorado Springs and 1928, they welcomed the first of their three children. Their one-acre homesite, which they referred to as “Old Home Place”, was situated between two sets of railroad tracks at the foot of Pike’s Peak. Charlie converted an old railroad boxcar into his studio, where he later gave lessons. Beginning in 1931, Bunnell spent a year and a half studying under Boardman Robinson. The two men clashed constantly due to a generation gap and markedly different philosophies. Robinson encouraged his students not to stray from realism and though Bunnell mastered Robinson’s preferred style of American Scene painting, he regularly irritated his professor with his abstract sketches. Bunnell taught at the Kansas City Art Institute during the summers of 1929, 1930, 1940, and 1941. Between 1934 and 1941, he painted and taught under federal projects which included assisting Frank Mechau on murals for the Colorado Springs Post Office. However, he did not take to mural making and, after criticism from Boardman Robinson about his use of “heavy daubs which have no place in mural work,” he abandoned mural-making altogether. By the late 1930’s, Bunnell’s work departed from the American Scene/Modernist style he was trained in towards abstraction. This is marked by his “Black and Blue” series, consisting of 83 abstracted ink and watercolors. Affected by the Second World War and the loss of his 10-year old son, Bunnell’s work of the early 1940’s took on a Transcendental and Surrealist tone. The works from this period are moody and readily reflect the political and personal turmoil experienced by the artist. In the late 1940’s, Bunnell began experimenting with Abstract Expressionism. He alone is credited with introducing Colorado Springs to the new style as it was excluded from the Fine Art Center’s curriculum by Boardman Robinson. Bunnell excelled in Abstract Expressionism and continued to evolve in the style through the 1950’s continuing to his death in 1968. He was recently recognized as a premier American Abstract Expressionist by his inclusion in the book American Abstract Expressionism of the 1950’s: An Illustrated Survey. © David Cook Galleries, LLC
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