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 QUOTATIONS FROM REVIEWS

G.R.D. SHOW MAY, 1929

New York Times, May 26, 1929:

 “Remembering that Miss Buller is a pupil of Kenneth Hayes Miller’s you say: oh, yes, of course, that would account for the depth, the volume”. As a matter of fact these pictures contain surprisingly little of the teacher’s personal style (which proves that Miss Buller is standing on her own feet), though they do contain the essence of his teaching.”

 “Indeed, realism is greatly outdistanced. The same thing seems to happen in these paintings that happens when you look at a a double photograph through the venerable stereoscope. Objects stand out sharply, each in its given plane; and yet, somehow, you are always aware that you are not looking upon life.”

“This is work of high technical merit; powerful work, in which humor, or at least a cynicism at once suave and biting, plays no small part.”

Woman with Negro Sculpture “whose pose is quaintly indecent”.

Girl with cigarette Case “more proper but equally quaint”.

Mangard Best- “with his extraordinary loft forehead”.

Harry Binsse- “whose cigarette you would almost ask to borrow for a light”.

Woman with Book- she bears a faint family resemblance to Derain

“Her work is so bold and so all together striking that it rather pales the three other exhibitors”

RHEN SHOW 1932 (1st Show)

New York Times May 24, 1932:

‘“The unassuming little still life now on view, while it indicates the general bent, does not even begin to tell what an extraordinary painter Miss Buller can be when she is hand of a major subject such as the memorable “Woman with  an Negro Sculpture” or “girl with Cigarette case.”’

“All the same, one can not recall ever seeing anything in art more stereoscopically three dimensional than Miss Buller’s pictures.”

 

RHEN SHOW 1933 (1st one man show)

New York Times, April 29, 1933:

“She manages to state her case with a conviction that gives a decided dignity and individuality to her scenes.”

Negative: “like Mr. Lucioni, can well afford to relax her inflexible pursuit of detail.”

Art News April 29, 1933:

 “Miss Buller’s talents lie principally along the line of still – life painting and here she achieves some interior arrangements that are very pleasing to behold.  She wants as yet that suavity of brush work and evenness of delineation that characterize the work of Luigi Lucioni, perhaps the most gifted young realist in town, –but despite her enjoyment for reaching out for every last silken ripple or glint of gold.”

ROCKEFLLER CENTER 1934:

American Magazine of Art May 1, 1934:

“World’s largest independent, juryless exhibition”, may not be the world’s largest but “as the forlorn critic rattle by on roller skates.”

From the Sea: “A delightful study in sea food and neo- classism which shows that humor and art can abide peacefully within one frame.”

 

FERAGIL SHOW 1936:

Time Magazine, May 11, 1936:

“Sugar shepherdess”, “From the Sea”, “Duck on a Platter”, “Sunday Morning”, “Fay Reading”, “Sleeping Girl”.

“Audrey Buller Parsons is a tall handsome brunette. Her husband is slender, grey haired Lloyd Parsons, who paints landscapes. Both born in Montreal, both paint in the same studio overlooking Manhattan’s Washington Square.”

Reginald Marsh in forward “today when the artist seems obligated to portray the grim social and economic forces, Miss Buller seldom strays beyond the front door… Everywhere in these paintings is luxury. There is a wit and a fine, fat magnificence …Mis Buller has painted this clean opulent world with terrible power.”

“All these were painted with luscious tactile surfaces, every detail as important as every other.”

New York Times May 3, 1936:

 “Combining paint quality of Kenneth Hayes Miller with and stereoscopic realism of Luigi Lucioni.”

Sunday Morning: “The artist had lovingly brushed these creamy-skinned nudes and the rich fabrics on which they rest or which fabrics on which her sitters for portraits wear. There is a meticulous attention to details of texture and design, which constitutes evidence of mature craftsmanship. Her work is so intellectualized and studied that even the wine glass spilled on a side table seems neat and posed. But her color and sense of finished surfaces are admirable.”

Art News May 2, 1936

“It is sculptural in its clear conception of forms, and bright, and sharp in color. The still-lifes are highly finished and sophisticated. Duck on platter is rather distinguished. The figure pieces range through various moods, nearly all of them voluptuous, massive and carried out with the same care for detail which is found in the still –lifes.“

Sunday Morning: “A lush hangover atmosphere pervades the lady; the details surrounding her are unnecessary and irrelevant to painting interest.”

Dorothy Goulet: “A solid portrait of a plump girl clad elaborately in wine red velvet and fur. If the artist’s baldness of color and tendency to include extraneous matter were controlled, her art would profit.”

Lilian Dunn: “A vivid head of a gray haired woman.”

Lucy Sewing: “A strongly modeled figure of a negress.”

Fay Reading: “Is sadly marred by the anecdotal book in her hands bearing the printed title “ High Tide of the Flesh.”

If the artist's baldness of color and tendency  to include extraneous matter were better controlled, her art would profit.

CARNEGIE SHOW 1940

Parnassus November, 1940:

 Penelope: “Example of the Victorian sentimental taste and literal vision of the worst contemporary painting. Suitable for a soap box.”

 

MUSEUM OF MODERN ART, 1943

New York Time February 14, 1943:

“Two hundred and sixty paintings filling all the galleries on the second floor.”

“The exhibition could continue on and on, almost indefinitely, without fatiguing us.”

 “Every artist is interesting in his own way and in some degree, and many of them (including several who are not as yet all well-known) contribute most tellingly.”

“The subject was chosen to demonstrate a wide spread but not yet generally recognized trend in contemporary American art. This trend has appeared not as a concerted movement but spontaneously, in most parts of the county and among different types of artists. The exhibition does not begin to cover all the varieties of painting which might be described by the term realism. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world (realism) or contrived by the imagination (Magic realism).”

“Magic realism had been defined by Alfred H. Barr Jr.  as ‘ a term sometimes applied to the work of painters who by means of an exact  realistic technique try to make plausible and convincing  Their improbable, dreamlike or fantastic visions.“

Art Digest June 2, 1943:

The NEW SHOW at the Museum of Modern Art should forever silence those who claim that what’s the matter with artists nowadays is that they can’t draw, can’t finish a picture, are not learned in their craft like the old master.”

 

PENNSYLVANIA ACADEMY SHOW, 1944

Montreal Gazette January 22, 1944:

 Audrey Buller was invited to exhibit her work at the 139th annual Penn Academy… “The selection of artists for this exhibit constitutes one of the nationally recognized honors of the profession, and establishes the artist in the first ranks of American painters.”

 

AMERICAN BRITISH GALLERY,1952

Art Digest May 1, 1952:

“Bread and Honey”, “Morning Glories”, “Mushrooms”, “The Christ Child”, Two painting with New England Rocks.  

“In Morning Glories, subject- pale blossoms, a rough stump, a shell, and a small live snake for added interest- tasteful arrangement and color add up to a picture of great appeal."

Negative: “photographic in execution, the paintings are saved from brittleness of illustration by a softness in color and handling, and tasteful selection in composition. It is this softness, however- compare Miss Buller’s loaf of bread with Dali’s- that robs them of startling efficacy of tromp- l’oeil.”

 

Art News May 1, 1952:

“If called upon to do so she can give you the minutest threads of things with the utmost precision. Her very accurate mushrooms, roses or morning glories are exactly spaced in her compositions and exactly placed on her canvases.”

The Christ Child: “Miss Buller never offends even when she ventures upon such a dangerous topic as a study of a Baroque statue of a Christ Child- the kind Christ Child that only a peasant could adore and which cultivated people, such as Miss Buller, accept for its quaintness- but she insists so firmly and so successfully upon the quaintness that the danger passes and all is well, and even the  truly pious will see no harm in the picture. But it was a narrow escape".

“Because of the struggle for this kind of perfection her colors leave beholder unmoved… but her colors are in good taste.”

New York Times April 25, 1952:

“The meticulous realism of Audrey Buller’s hard, shiny paintings at the American British Gallery is utterly detached except when coyness breaks in. her accurate eye will count the petals of a flower, harmonize its colors with steady elegance, and her hand will paint it as if atmosphere had never existed. She occasionally arranges forms in an improbable juxtaposition, which lends a vaguely surrealistic effect, but it’s as a painter of trompe l’oeil that she excels.”

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