Dick Hornaday is beginning to attain the full expressiveness of his subject matter—a single planed faceless crowd on a background plane. He uses the heads to throw a net of directional lines across the canvas, striving for a linear style which seems allied to the German expressionists. He exhibits not so much the German linearity, however, as a seemingly similar viewpoint on life. Hornaday, who took degrees at Iowa and Chicago, seems to share an emotional reserve and pessimism with other recent Iowans. It seems a matter of closeness to the soil, of practicality and of solidarity with the group as against the assertion of personal sensitivity.

—Robert Olmsted