Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 21 works by Robert Buhler in our catalogue
In short
The Cow Shed (1941) is the Robert Buhler painting that draws the most eyes; the original belongs to the The Hepworth Wakefield, Wakefield. After it, the eye goes to Early Morning (1939) and Stephen Spender (1909–1995) (1939). Among the 21 works of Robert Buhler in our catalog, these 20 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
In the quietude of 1941, Robert A. Buhler captured a moment of profound serenity in his evocative work, The Cow Shed. This painting serves as a vibrant window into a pastoral world, where the lush, verdant expanses of a green landscape meet the striking, grounded presence of a crimson structure. At first glance, the eye is drawn to the central red building—a barn or shed that stands as a bold,…
Moret, France1952
12
Bomb Site in Chelsea, London1950
13
W. H. Auden (1907–1973)
14
Still LifeTouchstones Rochdale
15
Suffolk Farm
16
Sir George C. Hayter Hames, Kt, Chairman of Devon County Council (1955–1965)Devon County Hall
17
HaystacksBorough of Camden v Londýne
18
Twilight, Venice (II)Government Art Collection
19
The Fallen Tree
20
Essex OrchardGovernment Art Collection
The 7 museums that hold the most of the paintings on this page.
| Museum | City | Works by Robert Buhler | Paintings from this list |
|---|---|---|---|
 Government Art Collection |
London | 2 | Twilight, Venice (II), Essex Orchard |
 The Hepworth Wakefield |
Wakefield | 1 | The Cow Shed |
 Victoria Art Gallery |
Bath | 1 | Stephen Spender (1909–1995) |
 County Hall |
Leicester | 1 | Cornfield, Rogate, Hampshire |
 Touchstones Rochdale |
Rochdale | 1 | Still Life |
 Devon County Hall |
Exeter | 1 | Sir George C. Hayter Hames, Kt, Chairman of Devon County Council (1955–1965) |
 Borough of Camden v Londýne |
London | 1 | Haystacks |
Pick a decade to see the original that defines it.
In the quietude of 1941, Robert A. Buhler captured a moment of profound serenity in his evocative work, The Cow Shed. This painting serves as a vibrant window into a pastoral world, where the lush, verdant expanses of a green landscape meet the striking, grounded presence of a crimson structure. At first glance, the eye is drawn to the central red building—a barn or shed that stands as a bold,…
The Cow Shed (1941), The Hepworth Wakefield, Wakefield. Early Morning (1939) and Stephen Spender (1909–1995) (1939) come next.
25 years old: The Cow Shed dates from 1941, and Robert Buhler was born in 1916.
The Cow Shed, Early Morning, Stephen Spender (1909–1995), Barnett Freedman, Carlyle Square, Chelsea, River Scene, The Orchard, Cornfield, Rogate, Hampshire, Green Park and The Saltings. The ranking above gives each one's year and museum.
Our catalog holds 21 works by Robert Buhler, dated from 1939 to 1953.
Mostly in Government Art Collection (London), The Hepworth Wakefield (Wakefield) and Victoria Art Gallery (Bath). The museum table above lists them all.
In 1940s: 7 of the 20 works on this page were made then, The Cow Shed among them.
On this page, the earliest is Early Morning (1939) and the latest The Saltings (1953).
Twilight, Venice (II) and Essex Orchard: the Government Art Collection, London holds 2 of the works on this page.
Born in London to Swiss parents, Robert Buhler’s artistic journey was a testament to the enduring influence of both heritage and circumstance. His early life, steeped in the cultural richness of his family's background – his father a journalist and aircraft designer, his mother a bookshop owner – provided a foundation for an appreciation of observation and detail that would become hallmarks of his distinctive style. Moving to Switzerland as a young man, he initially studied commercial art before returning to London, where he enrolled at St Martin’s School of Art, absorbing the spirit of the burgeoning Euston Road School movement. This period proved pivotal, exposing him to a group of artists who championed a spare, direct approach to painting – a philosophy that subtly shaped his own distinctive vision.
Buhler's artistic development wasn't solely defined by formal training; it was profoundly influenced by the rhythms and textures of London itself. He found himself drawn to the city’s light, its subtle shifts in atmosphere, and the quiet dignity of everyday life. His early works, often depicting scenes from his neighborhood – Camden Town, Fitzrovia – captured this essence with remarkable sensitivity. These paintings weren't grand statements; rather, they were intimate studies of place, rendered in muted tones and a restrained palette that reflected the city’s understated beauty. He skillfully employed light to create a sense of atmosphere, evoking mood and emotion through subtle variations in color and texture.
The transition from landscape to portraiture marked a significant shift in Buhler's career. His portraits, characterized by their quiet dignity and psychological depth, quickly gained recognition. He possessed an extraordinary ability to capture the essence of his subjects – not merely their physical appearance but also their inner lives. His sitters included prominent figures such as Francis Bacon, John Minton, and Stephen Spender, each portrait revealing a unique facet of the individual’s character. Buhler's portraits weren’t simply likenesses; they were carefully constructed narratives, imbued with a sense of empathy and understanding.
Buhler’s artistic practice extended beyond the confines of London. He spent considerable time in East Anglia, renting cottages and immersing himself in the region’s rural landscapes. This period produced some of his most evocative works – paintings that capture the quiet beauty of the Norfolk countryside with remarkable precision and sensitivity. His approach to landscape painting was deeply rooted in observation, informed by a keen awareness of light, color, and texture. He avoided dramatic gestures or overtly expressive brushstrokes, instead favoring a subtle, understated style that allowed the landscapes themselves to speak for themselves.
Despite his success as a painter and teacher, Robert Buhler’s life was marked by personal challenges. His marriage ended twice, and he struggled with financial difficulties throughout much of his career. Yet, he remained steadfast in his commitment to art, continuing to paint and teach until his death in 1989. His legacy endures not through grand pronouncements or flamboyant displays but through the quiet beauty and profound emotional resonance of his paintings – a testament to the power of observation, restraint, and a deep appreciation for the subtleties of English light.
Buhler’s artistic style was shaped by a confluence of influences. The spare compositions and restrained palettes of the Euston Road School painters – particularly Leon Underwood and Vivian Pitchforth – profoundly impacted his approach to landscape and portraiture. He also drew inspiration from Impressionism, evident in his use of light and color, and from the work of Robert Henri, whose emphasis on American Realism encouraged a direct engagement with the subject matter.
His style is characterized by:
Robert Buhler’s work has been exhibited widely throughout England and abroad, and his paintings are held in numerous public and private collections. He was elected an Associate of the Royal Academy in 1947 and a full Royal Academician in 1956, recognizing his significant contribution to British art. While he never achieved widespread fame during his lifetime, Buhler’s quiet dedication to his craft and his profound understanding of light and atmosphere have earned him a place as a key figure in the history of American Realism.
