Indianapolis Star 09 June 1935

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Indianapolis Star 09 June 1935 - BOHM'S ONE-MAN SHOW AT H. LIEBER'S GALLERIES...
BOHM'S ONE-MAN SHOW AT H. LIEBER'S GALLERIES Brown County Artist's Twenty-Three Oils Form One of Season's Finest Exhibitions Outstanding Landscape Painter. I HE one-man show by C. Curry Bohm of Nashville, la the front gallery of the H. Lleber Company, to continue through this week, puts one very much In the notion of giving first place as painter of Indiana landscape to this adopted Hoosier artist. Mr, Bohm came from Chicago several years ago and occupies a studio home in Brown county. The twenty-three oils, chiefly views in the state's well-known hill country, form one of the finest exhibitions we have had this season. Thoroughly sincere and honest in his consideration of nature and in the handling of paint, Mr. Bohm interprets the varying moods of nature with poetio feeling and imagination, but at the same time he keeps his feet on solid ground. Keeps Work Close to Nature. He composes well constructs his landscape designs artistically while keeping in sympathy with the realism of nature. His fields and hills are solidly built from "good red earth," His skies, too, belong to the same Mother Earth, in that they are appropriate to the mood he is interpreting, as well as being expressive of the time of day, the season of the year and the conditions of light and atmosphere that have to do with the general unity of the composition. Not content merely to register everyday cloud effects of rounded masses in a blue sky, he has put upon canvas for our enjoyment the unusual forms, pearly gray and delicate patterns that have unfolded and floated across the sky and, in a few moments will be swept away or changed into entirely different shapes with different effects of lighting. He has been very successful in suggesting cloud movement. Clouds Realistic Work. In the painting, "Gathering Rain," the broken cloud forms seem actually to be intermingling and sifting through each other pale rose-ivory particles of vapor that are scattering and coming together again over the misty landscape. Mr. Bohm does not paint the vivid sunset effects nor spectacular storm clouds. His art is all the more meritorious because he interprets the subtle beauty of pearly toned masses of vapor, touched by the light. A wonderful example of cloud painting about four-fifths of the picture space is given to sky is entitled "Passing in Review." An indefinite cloud pattern that appeals to the imagination because of varied suggested forms is skillfully painted in pearly tones of gray, touched lovingly by the light and massed against a sky of pale green-blue that is as exquisite as are the clouds. A sloping-roofed barn or dwelling by a tree in cloud-shadowed fields, these rest in hushed silence under the sky. Decorative Effects Kmphasl.ed. Curry Bohm is given to placing emphasis on decorative effects. This does not, however, take from the truth of realism in nature. Nature has a lot of poetry wrapped up within itself to reveal to the sensitive artist. In the largest canvas. "The Harvest," in which workmen are forking a high stack of gold from wagon loads that mules are hauling, the emphasis placed upon a group of decorative trees adds poetry to the harvest scene. The stack is going up, up. by the trunk of the tallest tree. The gold of the grain harmonizes with the rose-eold of the horizon's cloud mass. The towering tree throws out plumy boughs that meet yet other plumy boughs from three neighboring trees. Tree and workmen, grain of gold and sky of gold-gray are woven inrb summer's cloth of gold. It would be impossible to harbor a harsh thought while looking at this beautiful painting, Nature's Color Tortrayed. At the right of the harvest scene is a gentle song of spring, "Resur-jection," the artist has named it. And the plum blossom, the peach and the wild crab have come to life in the Brown county hills. Mr, Bohm has the happy faculty of making us feel rich in the possession of nature's wealth of color and at the same time leaving us unaware of material paint. In some of his color schemes it is as if you turned a large opal to catch the play of light upon its surface. In "Late October" this artistic combination of colors some bril- Hi Kxample of head painting by' Fay Davis, Indianapolis, flrst-year student at the Herron Art School. liant, some gently glowing, others restrainedis particularly evident; here a color mass all violet and lavender, there one that is gold-green: suddenly a flash of opal-fire, and then a touch, here and there m Tbey find no peace who 4-fishrOnuftt meaxunp AM things of lo88 and pm, And to themselves rnewt gather aH We s pleawire And never feeJ it pain. Tnere is no quirt, born of selfish thinking, For loss and hart are mre. Resentment is the bitter child of shrinking From what we mwt eodore. Bat pear is that sweet gift of rest from trial, An inward joy and deep, Bom oot of goffering and aflit- (emsA And gains we cannot keep, )t w the eaim that foHow strife The emHess tasks we do; Of having known life's countless strains and stresses And bravely lived them through. (Gopjtqgnt, Wpir A. General Foods to Present All-Star Revue At National Grocers Convention Here i 't"'"iY" a - fV C 5 ' r h and there, of clear fresh green, the color of a young lettuce leaf or of an open blade of corn in the field of a Hoosier farmer. Artistically Framed. "Evening Awaits" is a bit. of poetry on a small square canvas that measures but one inch more each way than the gallery list of titles. The small twilight landscape is surrounded by a three-inch mat of creamy white and finished with a frame as narrow as a bit of ribbon for a baby's hair and as daintily brown with a thread-like line of green that forms a harmonizing note with certain tones in the early evening landscape. This very artistic example has a companion piece in "Blue and Gold," Technique is varied to suit the sub ject. Good examples are "A Song of Indian Summer, in which a mood is captured, and "Seclusion," all that the name signifies. "Winter Tone Poem" is a snow scene in which fallen leaves, like autumn bouquets in the snow, and a few late leaves that cling to bare branches, give touches of color to the poetic landscape. Impressive Interpretations. For "The Smokies'' the artist left Indiana hills and painted in the mountains of the Southeast. You may like to study the picture at close range to enjoy Mr. Bohm's spontaneous brush work. But please stand at the proper distance to get his interpretation of mountains, which, I think, is very impressive. "Haunt of the Autumn Sprite" is vibrant in line with color. It has the rhythm of poetry, and its metrical quality. A snow scene In which creek, fence, tree and hill are snow-locked dnaerves its title, "Symphony in Winter." "Young Spring," a cabin scene by a little stream in a tangle of bush and tree, makes you want to drop everything and go in search until you find this lovely spot in your home state. Good Color Work. "South Chicago,"in time of snow, pictures shacks and factory stacks in a veil of smoke that does not completely shut out the light of the ski'. In the foreground glimpse of canal with boat at the left is a brilliant reflection of the green house near the bank. It is an interesting ! composition and a beautiful example of color handling. There are two flower paintings, "From a Summer Garden" and "Zinnias and Old Glass." Mr. Bohm does not paint portraits of flowers. He does not bother to get the exact texture of the petals, and he has not counted them, I am sure, in the double zinnias. But he does give us an interpretation of some message that the flowers would send out. I like his two flower pictures with their rich dark backgrounds and bits of softly-glowing still life. of the to the containing

Clipped from
  1. The Indianapolis Star,
  2. 09 Jun 1935, Sun,
  3. [Second Edition],
  4. Page 6

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  • Indianapolis Star 09 June 1935

    cdoor1 – 03 Dec 2016

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