Edgar Corbridge began painting after observing a friend work and believes that his lack of formal training while young had a beneficial effect on his work. Corbridge felt his art, “should influence the daily lives of all people not just the habitual gallery-goers.” Corbridge began to exhibit regularly throughout the 1940s and 1950s in such places as Boston, New York, Providence and Washington D.C. He was an active member of the influential Provincetown Art Association, and a window dresser by profession.
Corbridge painted during the Modernist period of the late 1930s and early 1940s, and shares the precise, linear style of Charles Sheeler. In a 1947 review “The Boston Herald” stated, ‘We are vaguely reminded of Charles Sheeler, except that Sheeler often paints as though for architectural drawings, whereas the Fall River [Corbridge] artist has the poets touch as well as the precisionist’s.’ Corbridge tended towards industrial scenes and architectural forms, resulting in compositions that are simple, geometric, and emphasize pure, clean lines. He uses broadly washed planes of color in the picture and then clusters groups of strong masses like a farmhouse or factory building to balance the painting. In 1942, Providence Journal writer B.F. Swain said of Corbridge’s work, “Just what it is that raises (his) watercolors above the ordinary is rather difficult to define, for they obviously skirt all sorts of dangers.” Art 11 x 14, Framed 21 x 24.