Walter Quirt (1902-1968) was an artist of great curiosity and experimentation. While Quirt's painting career consisted predominantly of oil on canvas, Quirt experimented successfully with oil painting on paper a few times. But it was the development in the late 1950's of acrylic paint by Sam Golden (Golden Artist Colors, Inc) as a stable, fast drying paint for artists that truly liberated Quirt and others (including the east coast Color Field painters) to become the earliest adapters of this revolutionary new material. Like the jazz musicians he admired, Quirt worked in quick, intuitively guided riffs of brush on paper. Abstracted human figures & horses painted in an effusive or monochromatic palette, sometimes thinned; or subdued, blended tones comprised the majority of his imagery. Often after applying thick layers of color, he would scratch through their surface, revealing the underlying hues or even the exposed substrate. Both human and horse as figures were ongoing energetic exercises and experiments in his developing theory of line as a means of human connection - "...that art contains the principles for a science of life...the use of principles in energy in art applied to social problems." - which historically has come to be known as the Quirt Hypothesis.