Having accepted Robert Henri as teacher and mentor, Sprinchorn adopted a realist style that was then considered to be revolutionary.
In defiance of decorous academic art and escapist impressionist art, the painters who studied under Henri chose subjects from the gritty urban world around them, painted with bold freedom and rapid brushwork, and strove for an immediacy of emotional expression.
In reviewing an exhibition in which his first paintings were shown, a critic said Sprinchorn's "Ferryboat in Snowstorm" offended art authorities by violating "every canon of academic art."
 Another said a painting of his offended "sentimentalists" by pushing realism "to the eleventh degree."
The 1906 painting, "After a Storm" also called "After a Snow Storm" (at right), shows Sprinchorn's style at this time.
Early in his career, Sprinchorn's works on paper attracted at least as much attention as his oil paintings.
As already mentioned, he received honorable mention for a drawing in 1906, showed drawings in a 1908 group exhibition, and in 1916 had his first solo exhibition devoted to drawings.
Some years later, he recalled how favorably the New York press responded to this work and said that the solo exhibition produced a large number of purchases.
 Sprinchorn followed Henri in his style of drawing as much as in his oil paintings.
Henri told his students to make drawings not as dispassionate draftsmen but expressively and with a deep consciousness of the whole of the subject.
In 1916 a critic for the New York Sun called attention to Sprinchorn's abbreviated lines and use of simplification and noted the "spirit and grace" of his drawings.
Noting in Sprinchorn's drawings "a keen vision and a witty analysis," a critic for the New York Times said in 1918 that the artist was "amazingly skillful in obtaining the richest and most splendid results by holding back the full force of his pigment, and suggesting reserves of color behind the surface painting."
In the early 1920s critics continued to stress his simplicity, directness, and intensity of feeling.
They recognized a rejection of strictly representational presentation in favor of the compositional elements of his work.
One saw in his technique a "genuine aesthetic sensibility" and another cited his ability to transform subjects into meaningful symbols.

In 1920 a critic for the Times wrote that Sprinchorn showed his talent most clearly in his drawings.
The critic called them "vivid, syncopated sketches," that told "within their narrow boundaries more truths about color and form that most artists find it possible to say upon their biggest canvases."
In 1922 a critic said the drawings were "expressed in spirited line and subtly modulated passages of blue, purple, pale yellow, and green.
Full of genuine aesthetic sensibility, as well as a certain sensuous, aristocratic nostalgia."
The same year, writing in The Arts magazine, a critic wrote that he prized "composition for its own sake," and had "almost a disdain for subject matter.
He cited as an example Sprinchorn's treatment of human figures as "hardly more than theses, men without destiny or destination."
Sprinchorn's "Lady with a Fan" (shown at left), shows his technique of line drawing with watercolor wash.

Sprinchorn's style changed little during the rest of his career, so little that critics writing in 2002 could echo what critics had written in the early 1920s.
Both sets of critics saw freedom and boldness in his artistic sensibility and an approach that was expressive and abstract rather than objective and representational.
They used terms like "free and bold" or "free and responsive" to describe his style.
Both early and late in his career he was seen as imparting what one critic called "symbolic emphasis" in his work.
Early and late, he was seen as a subtle colorist and was frequently cited for a forcefulness what one critic called "vigor and drive."
In all periods, critics saw an emotional content in his work which one called "expressionism with abstract elements."
In a post-career summation of his work a critic said what distingu
Having accepted Robert Henri as teacher and mentor, Sprinchorn adopted a realist style that was then considered to be revolutionary. In defiance of decorous academic art and escapist impressionist art, the painters who studied under Henri chose subjects from the gritty urban world around them, painted with bold freedom and rapid brushwork, and strove for an immediacy of emotional expression. In reviewing an exhibition in which his first paintings were shown, a critic said Sprinchorn's "Ferryboat in Snowstorm" offended art authorities by violating "every canon of academic art."  Another said a painting of his offended "sentimentalists" by pushing realism "to the eleventh degree." The 1906 painting, "After a Storm" also called "After a Snow Storm" (at right), shows Sprinchorn's style at this time. Early in his career, Sprinchorn's works on paper attracted at least as much attention as his oil paintings. As already mentioned, he received honorable mention for a drawing in 1906, showed drawings in a 1908 group exhibition, and in 1916 had his first solo exhibition devoted to drawings. Some years later, he recalled how favorably the New York press responded to this work and said that the solo exhibition produced a large number of purchases.  Sprinchorn followed Henri in his style of drawing as much as in his oil paintings. Henri told his students to make drawings not as dispassionate draftsmen but expressively and with a deep consciousness of the whole of the subject. In 1916 a critic for the New York Sun called attention to Sprinchorn's abbreviated lines and use of simplification and noted the "spirit and grace" of his drawings. Noting in Sprinchorn's drawings "a keen vision and a witty analysis," a critic for the New York Times said in 1918 that the artist was "amazingly skillful in obtaining the richest and most splendid results by holding back the full force of his pigment, and suggesting reserves of color behind the surface painting." In the early 1920s critics continued to stress his simplicity, directness, and intensity of feeling. They recognized a rejection of strictly representational presentation in favor of the compositional elements of his work. One saw in his technique a "genuine aesthetic sensibility" and another cited his ability to transform subjects into meaningful symbols.
In 1920 a critic for the Times wrote that Sprinchorn showed his talent most clearly in his drawings. The critic called them "vivid, syncopated sketches," that told "within their narrow boundaries more truths about color and form that most artists find it possible to say upon their biggest canvases." In 1922 a critic said the drawings were "expressed in spirited line and subtly modulated passages of blue, purple, pale yellow, and green. Full of genuine aesthetic sensibility, as well as a certain sensuous, aristocratic nostalgia." The same year, writing in The Arts magazine, a critic wrote that he prized "composition for its own sake," and had "almost a disdain for subject matter. He cited as an example Sprinchorn's treatment of human figures as "hardly more than theses, men without destiny or destination." Sprinchorn's "Lady with a Fan" (shown at left), shows his technique of line drawing with watercolor wash.
Sprinchorn's style changed little during the rest of his career, so little that critics writing in 2002 could echo what critics had written in the early 1920s. Both sets of critics saw freedom and boldness in his artistic sensibility and an approach that was expressive and abstract rather than objective and representational. They used terms like "free and bold" or "free and responsive" to describe his style. Both early and late in his career he was seen as imparting what one critic called "symbolic emphasis" in his work. Early and late, he was seen as a subtle colorist and was frequently cited for a forcefulness what one critic called "vigor and drive." In all periods, critics saw an emotional content in his work which one called "expressionism with abstract elements." In a post-career summation of his work a critic said what distingu
Carl Sprinchorn