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By this method, he could depict any obj. or scene. 1929- In spite of his stiff, crippled right arm, Pippin began to experiment with burnt wood panels. With his right hand he balanced a "white-hot poker" on his knee, and with his left hand manuvered a wood panel against the smoking tip of the iron.4 [[strikethrough]] He produced a black, permanent design which he could fashion into any object or letter. [[/strikethrough]] 1930- Pippin produced his first oil painting, The End of the War: Starting Home, which he worked on for three years. His war pictures, as an extension of the diary illustrations, evidenced his shattering experience of war. 1934- At this time, Pippin's arm and shoulder were still weak and sore, so he painted for short periods at time. He held the brush in his right hand, and with his left hand, held the right wrist. By moving his left arm, he manipulated the tiny brush and controlled the motion of the brush strokes across the canvas. Once the basic pattern was established, he added the color. [[left margin]] may elaborate on this [[/left margin]] 1937- Pippin entered two paintings in the West Chester County Art Association's annual invitation show, open to all. Upon viewing Pippin's paintings, N.C. Wyeth, the famous illustrator, noted the fine quality and convinced Dr. Christan Brinton, President of the association to give the artist a one-man show. In June, a small exhibition of ten paintings and seven burnt wood panels, opened at the West Chester Community Center. The works entered in this show experimented with subjects Pippin was to fully explore in later works.5 The show was a success, resulting in the sale of several art works and Pippin's introduction to Main Line society. 1938- Museum of Modern Art, New York, held the exhibitions, "Masters of Popular Painting", which included four Pippins selected by Holger Cahill from the 1937 one-man show. At this time Pippin secured Robert Carlen of Carlen Galleries, Philadelphia as his art dealer. Carlen was the ideal art dealer for Pippin because he understood the artist's need and gave him constant encouragement. 1940- The "Horace Pippin Exhibition" at Carlen Galleries included twenty-three oils and the catalogue contained an introduction by Albert C. Barnes of the Barnes Foundation who had previously purchased three paintings and invited Pippin to visit his collection in Merion, Pennsylvania. Pippin attended classes and lectures at the Foundation for several weeks, where he was exposed to the modern painting of Cezanne, Matisse, Picasso, Renoir and works by Old Masters, whose influence on subsequent works is disputed in conflicting opinions. It is evident that Pippin acquired a "freedom in the use of color and liberation in design that were to extend greatly his range and intensify his art."6
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