"The presence in a painting.. is like the presence a child feels and recognizes in things and the way they relate, like a doorknob, the slant of a roof or its flatness, or the personality of a tool. Art does not succeed by compelling you to like it, but by making you feel this presence in it. Is someone there? This someone can be impersonal." Fairfield Porter.
An older artist than either Pearlstein or Welliver, Fairfield Porter was a more reticent realist, and with no link to Abstract Expressionism. He was largely self-taught. From the mid-1950s on he stayed away from Manhattan, preferring to paint on Long Island and on Great Spruce Head Island in Maine, which his family owned. This didn't put him out of touch with "the scene" - Porter was a gifted and lucid art critic as well as a painter - but he needed to be in constant touch with his motifs, especially American light and the still expanses of coastal field and sea. Porter rejected the piety that the empirically painted figure or landscape was dead. It simply didn't accord with his deepest convictions about how art relates to experience and conveys its "density" - a favorite word of his. from artchive>>