In the paintings of JOHN PHILIP FALTER 19101982, the central element is always perspective. Not necessarily geometric perspective, either; it is the perspective given by distance or association, by the way we see individuals in contrast to their homes or their places of work and leisure. Falter favored a birdseye view for many of his subjects, affording us a careful, objective look at an animated landscape which he interpreted with large blocks of color highlighted by crisp human details. His best works are not about people but about their place in the big picture. It is no surprise that at midcareer, he became one of the small stable of postWar Saturday Evening Post cover artists when, under editor Ben Hibbs, the cover focus of that magazine shifted from storytelling to the portrayal of the American scene, a shift for which Falter was inadvertently responsible.

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