Paper

Student Artwork Guide

Old Pine and Cedar

Name Class Date

George Elbert Burr, Old Pine and Cedar (1923). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
George Elbert Burr originaluniqueart.com/en/artists/george-elbert-burr/
Artist’s dates
1859 – 1939
Painted
1923
Original size
25 x 19 cm

In context

Old Pine and Cedar — George Elbert Burr

How big is it?

The original measures 25 × 19 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1850
  2. 1860
  3. 1870
  4. 1880
  5. 1890
  6. 1900
  7. 1910
  8. 1920
  9. 1930

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 80 at death.

Painted when the artist was 64. The artist lived to 80. 203 of the 219 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of George Elbert Burr (1859–1939) ▲ this work, 1923 every dated painting, decade by decade

First works: up to 1899 Main working years: 1899–1916 Late works: from 1916

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #a49581

    Catalogued palette

    • #A49581
    • #6C6357
    • #3F3A35
    • #D6C4AD

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by George Elbert Burr over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 90.3%6,500 visits
    2. 2 Hong Kong 4.2%300 visits
    3. 3 Singapore 2.8%200 visits
    4. 4 Mexico 1.4%100 visits
    5. 5 United States of America 1.4%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by George Elbert Burr

    1. 1 Camelback Mountain, Phoenix, 1926 3.7%300 visits
    2. 2 Wild Rose, Wassen, 1898 3.7%300 visits
    3. 3 Untitled (transfer drawing for The Home of the Winds [no. 1]), 1917 2.5%200 visits
    4. 4 Thanksgiving Menu, 1905 2.5%200 visits
    5. 5 Galveston, Texas, 1890 2.5%200 visits
    6. 6 Sketch for Pines in Wind, Estes Park, 1918 2.5%200 visits
    7. 7 Superstition Mountain, Apache Trail, Arizona, 1930 2.5%200 visits
    8. 8 Untitled (transfer drawing for Arizona Night), 1920 2.5%200 visits
    9. 9 Oak Cliff, Dallas, 1890 2.5%200 visits
    10. 10 Castle Gate, Rio Grande Western Railroad, 1891 2.5%200 visits
    11. 11 Old Pine and Cedar, 1923 this painting 2.5%200 visits
    12. 12 Untitled (drawing for print), 1920 2.5%200 visits
    13. 13 Untitled (transfer drawing for Desert Monuments, Arizona), 1920 2.5%200 visits
    14. 14 West Gate, Warwick, 1899 2.5%200 visits
    15. 15 Untitled (Trees in Snow), 1883 2.5%200 visits
    16. 16 Caub on the Rhine from Below, 1900 2.5%200 visits
    17. 17 Estes Park, 1917 2.5%200 visits
    18. 18 Coast at Monterey, California, 1906 1.2%100 visits
    19. 19 The Edge of the Desert, Arizona, 1924 1.2%100 visits
    20. 20 Untitled (transfer drawing for Florence from Monte Oliveto [No. 2]), 1931 1.2%100 visits

    Together these works take 48.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 219 works by this artist, of which 62 were looked at at least once. This painting ranks 11 of them, with 2.5% of that attention (200 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    George Elbert Burr

    George Elbert Burr: A Desert Visionary

    George Elbert Burr (1859 – 1939) stands as a singular figure in American printmaking and painting, remembered primarily for his masterful depictions of the American West’s dramatic landscapes—particularly its deserts and mountains. Born in Cincinnati, Ohio, Burr pursued an artistic education initially focusing on illustration before gravitating towards etching and watercolor techniques that would define his distinctive style. His work transcends mere representation; it embodies a profound sensitivity to light, texture, and atmosphere, capturing the essence of solitude and grandeur within these expansive environments.

    Early Life & Education: Burr’s formative years were marked by an interest in natural history and scientific observation—influences that would permeate his artistic vision. He studied at Cincinnati Art Academy and later traveled extensively throughout Europe, absorbing the Impressionist movement's techniques and aesthetic principles.

    The Rise of Etching: Burr’s breakthrough came with etching, a medium he embraced wholeheartedly during the late Victorian era. His meticulous approach to creating prints involved painstakingly transferring images from drawings onto copper plates, utilizing acid baths to carve intricate lines that would ultimately produce stunningly detailed impressions. This painstaking process demanded patience and precision—qualities Burr possessed in abundance.

    Desert Landscapes & Stylistic Evolution: Burr’s artistic focus shifted decisively towards the American Southwest during the early 20th century. He embarked on numerous expeditions to Arizona, Utah, Nevada, and California, documenting the region's geological formations and ephemeral beauty with breathtaking watercolors and drypoint etchings. His style evolved over time—characterized by a gradual simplification of forms and an increasing emphasis on tonal harmonies—reflecting his growing understanding of how light interacts with surface textures.

    Notable Achievements & Recognition: Burr’s prints gained considerable acclaim during his lifetime, securing commissions from prominent institutions like the Smithsonian Institution and earning recognition as a leading exponent of American landscape art. His works are held in collections across the nation and continue to inspire artists today.

    Key Works & Artistic Style

    Burr’s oeuvre comprises approximately 350 prints and drawings, showcasing his remarkable versatility as an artist. Among his most celebrated pieces include ‘Castle Schönburg, Oberwesel,’ a meticulously rendered watercolor capturing the imposing silhouette of a medieval castle against a twilight sky—a testament to his ability to convey both historical detail and emotional resonance. Similarly, ‘Untitled (Transfer Drawing for November)’ presents a starkly beautiful monochrome sketch conveying the desolate beauty of Nevada’s desert terrain. His distinctive style is marked by:

    Detailed Linework: Burr's etchings are renowned for their extraordinarily fine lines—a hallmark of his technique that captures subtle nuances of form and texture.

    Tonal Harmony: Watercolor paintings demonstrate Burr’s masterful control over color palettes, achieving harmonious blends that evoke the mood and atmosphere of the landscapes he depicted.

    Emphasis on Light & Shadow: Throughout his work, Burr skillfully employed chiaroscuro—the interplay of light and shadow—to heighten visual drama and convey a sense of depth.

    Legacy & Historical Significance

    George Elbert Burr’s contribution to American art extends beyond the aesthetic realm; he embodies the spirit of exploration and observation that characterized the Progressive Era. His unflinching portrayal of the West—often imbued with a contemplative stillness—served as an inspiration for subsequent generations of artists seeking to capture the sublime grandeur of nature. Today, Burr's prints remain treasured artifacts of early 20th-century art history, offering viewers a glimpse into a bygone era and reaffirming the enduring power of artistic vision.

    Where to read more

    • The artist George Elbert Burr originaluniqueart.com/en/artists/george-elbert-burr/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/

    Find this online

    QR code linking to the download page for Old Pine and Cedar

    originaluniqueart.com/en/art/download/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/

    Cite this artwork

    MLA
    Burr, George Elbert. Old Pine and Cedar. 1923, https://originaluniqueart.com/en/art/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/
    APA
    Burr, George Elbert (1923). Old Pine and Cedar [Painting]. https://originaluniqueart.com/en/art/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/
    Chicago
    George Elbert Burr. Old Pine and Cedar. 1923. https://originaluniqueart.com/en/art/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/
    Harvard
    Burr, George Elbert (1923) Old Pine and Cedar. Available at: https://originaluniqueart.com/en/art/george-elbert-burr-old-pine-and-cedar-AQT6H3-en/

    Look closely

    Old Pine and Cedar — George Elbert Burr

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at The Edge of the Desert, Arizona (1924), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. George Elbert Burr was about 64 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is "Old Pine and Cedar" more bright or more dark overall?

    "Old Pine and Cedar" by George Elbert Burr is recorded as bright, with a gentle luminance luminance.

    How many people view "Old Pine and Cedar"?

    A Stats page exists for "Old Pine and Cedar". It charts the monthly visits of the artwork and of the artist's other works, with country and language breakdowns.

    Which palette and lead color define "Old Pine and Cedar"?

    The color identity of "Old Pine and Cedar" by George Elbert Burr: a neutrals palette, dominated by rosy brown (#a49581).