and the Whitney Museum of American Art acquired his works. His paintings were featured in annual or biennials at the Art Institute of Chicago, Chicago, IL; Carnegie Institute, Pittsburgh, PA; Corcoran Gallery of Art, Washington, D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; and the Whitney Museum of American Art, New York, as well as thematic surveys at the Dayton Art Institute, OH; National Gallery of Art, Washington, D.C.; Newark Museum, Newark, NJ; and Tate Gallery, London, UK. In the catalogue for one of his memorial exhibitions in 1947, critic Alain Locke described Pippin as "a real and rare genius, combining folk quality with artistic maturity so uniquely as almost to defy classification." Artworks Pippin's oeuvre includes a variety of subjects and compositional strategies. He began in the 1920s by burning designs into wood panels—mostly snow scenes—and adding paint in one or two colors to highlight specific components of the image. His first oil painting, The Ending of the War, Starting Home (1930–1933), depicts a scene informed by his experience at the Battle of Sechault, where he was shot. (It does not depict the official German surrender on November 11, 1918, which happened as he was recovering in a French hospital.) He also made the frame and decorated it with hand-carved war materiel, including German and French helmets and weapons. He painted World War I several times thereafter in the 1930s and once more in 1945. Pippin painted several religious subjects, both those illustrating Bible passages and more visionary statements like his Holy Mountain series. He was a religious man, staying close to the church throughout his life by teaching Sunday school and singing in his church choir. Among Pippin's most celebrated pictures are the three paintings of his Holy Mountain series, which are reminiscent of the bucolic Peaceable Kingdom paintings of Quaker artist Edward Hicks that depict predators and prey together. Pippin includes elements drawn for his own time to suggests that discord and harmony are never too far apart. The wooded backgrounds include soldiers, graveyards, war planes, and bombs that are at odds with the peace depicted in the foreground. In The Knowledge of God and The Holy Mountain III, the tiny brown figure hanging in the trees refers to the ongoing scourge of lynching in the segregated southern United States. He links concepts of destruction and peace by inscribing a significant date from WWII on each