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Bob Bilyeu Camblin (August 1, 1928 – December 4, 2010) was an American artist who gained prominence in the 1970s Houston Art Scene. "At once a mystic, an artiste, and a provocateur, Camblin layered his watercolors, pool paintings, drawings, and prints with hidden meanings, painstaking detail, and tongue-in-cheek humor."[1][page needed]
Bob Camblin | |
|---|---|
| Born | August 1, 1928 |
| Died | December 4, 2010 (aged 82) |
| Nationality | American |
| Movement | Post-Impressionism, Abstract Impressionism |
Over his lifetime, Camblin created more than 2,400 artworks, including paintings, drawings, and watercolors.[2] Many of these pieces have been discovered years later, proving that the rumors of his buried treasures are true. He was a modern-day pirate, his artwork was often hidden and abandoned, left to be discovered by future treasure hunters.[3][page needed] Art historian Sandra Jenson Rowland said"...he had been leaving signs, clues, and ciphers in his art for the recovery of [his] buried treasure."[4]
Early life and education
editCamblin was born in Ponca City, Oklahoma, into a family of artists. His parents, Don and Viva Camblin, were accomplished artists who exposed him to various mediums from a young age. His early passion for art was evident during his time as Art Director for his high school yearbook. He pursued formal studies at the Kansas City Art Institute, earning a B.F.A. and M.F.A. in 1955. Shortly after, he received a Fulbright fellowship,[5] which allowed him to study art in Italy for a year.
Career
editCamblin's career began with teaching positions at institutions such as The Ringling School of Art, University of Illinois, University of Detroit, University of Utah and Rice University. His time in Europe and later in Venice had a profound influence on his work, where he encountered the avant-garde movement and refined his technique.
In the summer of 1968, Camblin began collaborating with fellow artist Earl Staley, with whom he set up a studio. The concept of collaboration became a central theme in his work, as he engaged in artistic events, including group exhibitions and collaborative sculptures, often inspired by Dadaist ideals.[6][page needed] He adopted multiple artistic personas, including Anonymous Bosch and Mr. Peanut, further reflecting his experimental approach.
Mouches Volantes
editIn 1980, Camblin developed Mouches Volantes, a painting style that played on the interaction between optical illusions and the viewer’s perception.[7] This technique, influenced by artists such as M.C. Escher and Marcel Duchamp, sought to create larger perceptions from familiar objects through abstract brushstrokes. His work invited viewers to engage with the paintings beyond the surface, piecing together a narrative based on their optical experiences.
Major works
editSome of Camblin's notable works include:
- Big Al: Electric Age, an example of his Mouches Volantes technique, where he blurred the line between abstract shapes and perceptual reality.[8]
- The Marionette, one of his early works reflecting his Catholic upbringing and existential themes.[9]
- Descent From The Cross, a pen and ink drawing depicting the crucified Christ being lowered from the cross, his lifeless body held by Joseph of Arimathea and Nicodemus.[10][page needed]
Collaborations and exhibitions
editThroughout his career, Camblin participated in several notable exhibitions, including:[11]
- Fulbright Artists Exhibition (Rome, 1957)
- Bob Camblin:A Houston Retrospective 1968-84 (Midtown Art Center Houston, Texas, 1984)
- Fresh Paint: The Houston School (1985), where he was the only artist featured without a written statement.
His works were exhibited at institutions such as the Museum of Fine Arts (Houston), Whitney Museum of American Art, and the Akron Art Institute.
Personal life
editIn his later years, Camblin moved to Algiers, Louisiana, before settling in LaPlace, Louisiana, where he continued to paint with his wife, fellow artist Nancy Giordano Echegoyen,[4] until his death in 2010.
References
edit- ^ Gershon 2018.
- ^ "Catalogue Raisonne | Camblin Museum".
- ^ Whitehead 2017.
- ^ a b Rowland 2020, p. 221.
- ^ "Art: A Year Abroad". TIME. Vol. LXXII, no. 14. October 6, 1958. p. 69. Retrieved October 18, 2024.
- ^ Landay 1986.
- ^ Gershon 2018, p. 383.
- ^ Rowland 2020, p. 229−230.
- ^ Rowland 2020, p. 15.
- ^ Rodriguez & Lukas 2018.
- ^ Rowland 2020, p. 340.
Works cited
edit- Gershon, Pete (September 13, 2018). Collision: The Contemporary Art Scene in Houston, 1972–1985. Texas A&M University Press. ISBN 978-1-62349-632-6.
- Landay, Janet (1986). Collaborators: Artists Working Together in Houston 1969-1986 : September 18-October 19, 1986, The Glassell School of Art, The Museum of Fine Arts, Houston. Glassell School of Art, Museum of Fine Arts. ISBN 978-0-89090-040-6.
- Rodriguez, Jillian; Lukas, Beau (April 2018). Bob Camblin N Compleat Workes: Ruminations About Life in The Late 20th Century VOL I. Running Man Press. ISBN 978-0-9988949-3-5.
- Rowland, Sandra Jensen (August 14, 2020). Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene. University of North Texas Press. ISBN 978-1-57441-801-9.
- Whitehead, Eliot (April 2017). Family Portrait: The Lost Sketchbooks of BOB CAMBLIN 1956 - 1974. Running Man Press. ISBN 978-0-9988949-0-4.