Jack Morris, in his book Contemporary Artists in South Carolina characterizes Hirsch’s work in this way: His obvious debt to classical models and the romantic tradition of Lehmbruck is best satisfied in a series of compact wood pieces which are devoted to the imagery of the Old Testament. The success of these earlier works (1947-48) is deeply rooted in the sense of rhythm and balance which is an almost natural by-product of the traditional sculptural concept based on the containment of forms within a block of material. In these works one is not only aware of the emotional tension complicated by distortion of natural form and proportion, but also of the physical intensity between artist and material. Each piece in the series evolves as a powerful visual statement. Not because of its literal representation, but in spite of it. Utilizing giant sections of cedar, Hirsch translates block-like characters into a carefully studied balance of masses within a firm geometric framework invested with a profound spiritual grace.

The piece of Hirsch’s represented in the State Art Collection is The Boy Joseph, purchased in 1969. This is clearly part of his biblical series of work.