Fuchs's work also graced the pages of other magazines I read at the time: Sports Illustrated and Golf Digest. I've tried over the years to put my finger on exactly why BF's work thrilled me so much. I think these three paintings really exemplify the answer.
Second, his drawing was masterful. In many places it can be seen through his thin washes of color (left). I am enthralled with his canvas-textured pencil coming and going throughout a piece.
Third, his thin washes on white canvas lend his colors far more brilliance than we often see in oil paint. Working thinly also allows his impasto to make a profound statement.
The interplay of such devices is what makes his work so stimulating.
Fuchs's methods were unusual. Like most illustrators of his day, he relied heavily on reference photos. I can't find any research to support this, but I had a professor who worked for Leo Burnett for years who claimed that Fuchs often worked in the dark with his reference projected onto his canvas with a slide projector. He would do his under-drawing and then light colorful washes thinned with tons of turpentine in this manner. After the first phase in the dark, he would then work his impastos and draw-offs in normal studio lighting. Again, it's what I've been told. He very well may have kept his process a secret.
All of the above notwithstanding, I think it's Fuchs's restraint that is his greatest attraction. He was able to say more with a single line than most of us ever will - and his painting followed suit; nothing more than was absolutely necessary to tell his story.
Here's a video in which Fuchs shows and talks about his work. https://www.youtube.com/watch?v=edgALa40NAk
If you know anything about Fuchs's work methods, I'd love to hear from you!