Her paintings and drawings can be found in the Smithsonian, Ford Motor Company, SUNY Buffalo State, and the Burchfield-Penney Art Center.

At 2 years of age, Burchfield with her family moved to the Gardenville area of West Seneca, New York, where she remained for the rest of her life.

She and her siblings, Mary Alice, Sarah Ruth (Sally), Catherine and Arthur grew up across the street from the 29-acre Island Park, which in 1999 became the Charles E. Burchfield Nature & Art Center[4] (BNAC) in honor of her father.

[5] It is composed of wild and cultivated gardens, a large playground, nature trails, and an outdoor amphitheater alongside the banks of the Buffalo Creek.

Though the decision to leave Birge wallpaper company preceded the Great Depression, Charles's works continued to sell.

The school system promoted Richter one grade and she ended up in the same class as her sister Mary Alice who was a year older.

[9] After graduation, Burchfield attended Albright Art School[10] in Buffalo for one year studying with artists Philip C. Elliott[11] and Florence Julia Bach.

Her mentors at the institute included such artists as William Joseph Eastman, Carl Frederick Gaertner, and Paul Travis.

[14] On August 3, 1946, Burchfield married Henry (Hank) Richter, a local boy who served for three and a half years in the Army Air Force in the European Theater.

The couple was married in her parents' home, with siblings Catherine and Arthur Burchfield serving as maid of honor and best man respectively.

[14] In news interviews, Richter talked about her love of cooking, sewing, and raising children, but she also spoke to her yearning to create art.

"[16] An article in The Buffalo Evening News (November 30, 1946) reported that when she got married four months previously she had planned to give up painting if it interfered with her housework.

[citation needed] Although Burchfield favored en plein air painting, she also had a studio for convenience and unfavorable weather.

[citation needed] Much of her last few years are known through an interview with Peggy Haug, Burchfield Richter's daughter, taken on July 15, 2016, by Laurie Kaiser a writer from Buffalo.

With experience and increasing knowledge, the primitive note has vanished, but the lyrical quality has remained and grown steadily, to which has been added the drama of light and an awareness of the more sophisticated problems of landscape painting.

[22] Art critic and abstract artist Trevor Thomas wrote that Richter "commands an almost impeccable cleanliness of rendering and handles the accepted hieroglyphics for trees, leaves, grass, flowers, and old houses with accustomed assurance.

"[22] He also compared her style to her father's, saying that while Charles had the intuitive ability to evoke a sense of mystery and wonder behind the appearances of ordinary scenes, Burchfield "is content to look at what she views and to delineate it with a given vocabulary of colors and an accepted grammar of strokes.

"Western New York's meadows, creeks, roads, and small towns are sensitively recorded by her brushes….If there is a quality, rather than a technique, which she shares with her famous father, it is the spirit of fantasy that animates her skies, mottling the horizons with clouds that seem under pressures of wind to achieve a full, rolling boil.

[24] In spring 1968, the Lakeview Gallery of Art in Hamburg, New York, hosted a three-generational exhibit featuring the work of Charles Burchfield, Martha Burchfield and, Peggy Richter, who was only 19 years old and a volunteer working with Trinity Lutheran Church on the lower east side New York City to help poor black and Puerto Rican families.

Winebrenner, a writer with the Buffalo Courier-Express (February 3, 1968) described Burchfield's work as "well-composed, structurally sound and painted with great sympathy for the subject.