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Student Artwork Guide

Vegetable Sphinx

Name Class Date

William Scharf, Vegetable Sphinx (1982). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
William Scharf artsdot.com/en/artists/william-scharf/
Artist’s dates
1927 – 2018
Painted
1982
Original size
23 x 30 cm

In context

Vegetable Sphinx — William Scharf

How big is it?

The original measures 23 × 30 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990
  9. 2000
  10. 2010

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 91 at death.

Painted when the artist was 55. The artist lived to 91. 7 of the 10 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of William Scharf (1927–2018) ▲ this work, 1982 every dated painting, decade by decade

First works: up to 1962 Main working years: 1962–1982 Late works: from 1982

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: artsdot.com/en/art/similar/william-scharf-vegetable-sphinx-ARA8AU-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #26251a

    Catalogued palette

    • #26251A
    • #77321B
    • #D97D15
    • #D3290C

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

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft 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 William Scharf over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%300 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 4 most looked-at works by William Scharf

    1. 1 Horn Sky, 1969 50.0%200 visits
    2. 2 A Fire Cave, 1981 25.0%100 visits
    3. 3 Echo Returns to Herself, 1983 25.0%100 visits
    4. — Vegetable Sphinx, 1982 this painting 0.0%0 visits

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 10 works by this artist, of which 3 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. 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

    William Scharf

    William Scharf: A Weaver of Dreams and Symbols

    William Scharf (February 22, 1927 – January 15, 2018) wasn’t a name that frequently echoed through the halls of the art world during his lifetime. Yet, beneath the surface of his quietly assured style lay a profound depth—a capacity to conjure hauntingly beautiful landscapes populated by enigmatic symbols and imbued with an almost palpable sense of longing. He was, in essence, a master of suggestion, inviting viewers into a realm where memory, myth, and personal experience intertwined, creating works that continue to resonate with a quiet intensity decades after his death.

    Born in Media, Pennsylvania—a small town just outside Philadelphia—Scharf’s artistic journey began early. His childhood was marked by a formative friendship with N.C. Wyeth, the renowned illustrator, who recognized and nurtured a nascent talent within the young boy. Wyeth's encouragement led to studies at the Pennsylvania Academy of the Fine Arts, where Scharf honed his skills under influential mentors like Franklin Watkins, Daniel Garber, and Walter Stuempfig. This foundation provided him with a rigorous training in traditional techniques while simultaneously exposing him to the burgeoning currents of modern art.

    Scharf’s early career was characterized by a deliberate exploration of various styles—from Abstract Expressionism to Color Field painting—reflecting his engagement with the dynamic artistic landscape of post-war New York. He spent time in Paris, immersing himself in European art and culture, before establishing himself as a significant figure within the American abstract movement. His relocation to New York City in 1952 proved pivotal, placing him at the heart of a vibrant community of artists including Mark Rothko, Dorothy Miller, and Willie Dennis—individuals who profoundly shaped his artistic vision.

    The Language of Symbolism

    Scharf’s work is immediately recognizable for its rich symbolic vocabulary. He didn't simply paint; he constructed narratives, layering images with carefully chosen symbols that alluded to a deeper, often elusive, meaning. Recurring motifs—the crown of thorns, ladders, fish, and crosses—appear throughout his oeuvre, functioning not as straightforward religious icons but rather as keys unlocking hidden layers of interpretation. These symbols aren’t presented directly; instead, they emerge subtly within the composition, inviting viewers to actively participate in deciphering their significance.

    Influenced by Surrealism, particularly the work of Arshile Gorky, Scharf employed a dreamlike quality in his paintings—a sense of disorientation and mystery that draws upon the subconscious. He wasn’t interested in literal representation but rather in capturing the emotional essence of an experience or memory. His palette was often luminous and vibrant, yet tempered with shadows and muted tones, creating a captivating interplay between light and darkness.

    Collaboration and Influence

    Scharf's relationship with Mark Rothko proved particularly significant. The two artists shared a deep respect for color’s expressive potential, and Scharf benefited immensely from Rothko’s guidance. He even assisted Rothko on preliminary studies for the Rothko Chapel in Houston—a monumental project that cemented his place within the Color Field movement. This collaboration exposed him to the scale and ambition of Rothko's vision, further refining his own approach to color and composition.

    Beyond Rothko, Scharf’s work was influenced by a diverse range of sources—from literature and mythology to the natural world. He drew inspiration from the landscapes of Pennsylvania, the vibrant colors of Europe, and the psychological depths explored by writers like James Joyce and Virginia Woolf. His paintings are not simply visual experiences; they are invitations to contemplate complex themes of memory, loss, and the human condition.

    A Legacy of Quiet Intensity

    William Scharf’s artistic legacy is one of quiet intensity—a testament to his unwavering commitment to exploring the depths of human experience through the evocative power of color and symbolism. He wasn't a flamboyant or overtly expressive artist, but rather a subtle master of suggestion, creating works that linger in the memory long after they have been viewed.

    His paintings are often described as “haunting” or “dreamlike,” qualities that reflect his ability to tap into the subconscious and evoke profound emotional responses. Despite not achieving widespread fame during his lifetime, Scharf’s work has gained increasing recognition in recent years, solidifying his place as a significant figure within the history of American abstract art. His paintings continue to invite viewers on journeys into realms of mystery and emotion—a testament to the enduring power of his vision.

    Where to read more

    Find this online

    QR code linking to the download page for Vegetable Sphinx

    artsdot.com/en/art/download/william-scharf-vegetable-sphinx-ARA8AU-en/

    Cite this artwork

    MLA
    Scharf, William. Vegetable Sphinx. 1982, https://artsdot.com/en/art/william-scharf-vegetable-sphinx-ARA8AU-en/
    APA
    Scharf, William (1982). Vegetable Sphinx [Painting]. https://artsdot.com/en/art/william-scharf-vegetable-sphinx-ARA8AU-en/
    Chicago
    William Scharf. Vegetable Sphinx. 1982. https://artsdot.com/en/art/william-scharf-vegetable-sphinx-ARA8AU-en/
    Harvard
    Scharf, William (1982) Vegetable Sphinx. Available at: https://artsdot.com/en/art/william-scharf-vegetable-sphinx-ARA8AU-en/

    Look closely

    Vegetable Sphinx — William Scharf

    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 Blood Grotto (1983), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. William Scharf was about 55 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

    What color leads the composition of "Vegetable Sphinx" by William Scharf?

    The dominant color of "Vegetable Sphinx" by William Scharf is phthalo green (#26251a).

    Does "Vegetable Sphinx" show strong light-dark contrasts?

    The light-dark contrast of "Vegetable Sphinx" is recorded as gentle. Contrast describes how strongly light and dark areas differ.

    Which palette and lead color define "Vegetable Sphinx"?

    "Vegetable Sphinx" by William Scharf uses an earthy palette, with phthalo green (#26251a) as the dominant color.