Robert Curtis Wilson was a man of many talents.

He was a writer, teacher, collector, and world traveler,

but his life’s passion was painting.

Born on September 3, 1926, to Forrest Wilson and Nelle Curtis

Grandparents George and Rena Curtis

Childhood home on Bell Street in the town of Sullivan, Indiana

Silent Night, 1981, acrylic on canvas, 24”x 36”, Sullivan County Library Collection.

1929-The great depression brought profound changes to his life.

View from a Farmhouse Window, 1977, acrylic on canvas, 36”x48”

By the age of one, his parents divorced and he was never to see or hear from his father again.

As an only child, he was left in the care of his grandparents while his mother worked. Isolated in the rural countryside, he developed a kinship with nature and a keen eye for his surroundings.

First Snow, 1996, acrylic on canvas, 20”x24”

He established himself as an artist at a very early age.

1940- When his grandfather dies, his mother, Nelle, relocates to California with the offer of a much better job. Bob alternates between California and Indiana, living with his mother in the summer and his grandmother during the school year.

View from Topanga Canyon, 1954, oil on canvas, private collection.Bob with his mother-Santa Monica Pier

1944- The death of his grandmother brings him to the first of many forks in his life’s path. Rather than return to California with his mother, he remains in Indiana to finish high school, moving to Bloomfield to live with his uncle. To support himself, he finds work at a chicken factory in the nearby town of Odon.

Road to Odon ,1974, acrylic on canvas, 36”x 48”

Graduated from Odon High School-1945

1945 to 1947- He was drafted into the Army, serving in France and Germany during WWII. Many of his war-time experiences would become the subjects of future paintings and drawings.

Buchenwald, 1962, canvas, wire, and wood, private collection.

1947- Returning from the war and settling in the Los Angeles area, the GI Bill provided an opportunity to study art .

As early as 1951, he developed his characteristic abstract painting style, showing his work in local, regional and national shows.

Holiday in Mexico, enamels on board, private collection

While attending school, he worked in the art department of Douglas Aircraft and taught evening school art classes for adults.

He earned an Associate in Arts Degree from Santa Monica City College in 1955, and a Bachelor of Arts Degree with a teaching certificate in 1956.

In 1960 he completed his Masters Degree from Los Angeles State College of Applied Arts and Sciences. (C.S.U.N.)

In 1960, an article about his work in The Valley State Sundial, featured the painting “California Baroque”. In it, he was quoted as “some day hoping to have one of his paintings become part of the permanent library collection”. In 2003, the painting was donated to the Oviatt Library at C.S.U. at Northridge.

California Baroque, 1960, acrylic and mixed media on board, 36:x48”, California State University at Northridge Collection.

On Back: Poppies-, circa 1950’s, acrylic on board.

1960- He wrote The Artists Studio Book of Materials, and continued to paint, exploring experimental media and techniques.

Granada Hills,1961, acrylic, wood, nails, and mixed media on board, Private Collection.

Mono Lake, 1962, acrylic and mixed media on canvas, 36”x48”

From 1956-1960 he worked full time as an art teacher at Northridge Junior High School.

1960-1963, he was an Art instructor at Pierce College in Los Angeles.

1963 -A chance encounter with Dr. Stanley Czurles at a national education conference brings him to Buffalo, New York as an associate art instructor at Buffalo State College.

1963-1986 Associate Professor of Design■ Taught Design 101/102 ■ Published: An Alphabet of Visual

Experience and The Role of Crafts in Education.

■ Chaired the Grants and Awards Committee and served on the Dean’s Advisory Council.

■ Advisor to the Fine Arts Board and The Elms college yearbook.

■ Organized college and state-wide workshops.

■ Frequent college-circuit lecturer, speaker and juror. Office Hours, M. Wilson, photo silk screen, 7”x9”, 1969

It was during this time, from the early 70s through the mid 90’s, that he began to concentrate on landscape subjects, developing the unique design characteristics and painting techniques that would hallmark his personal style. Forest Stream, 1976 , acrylic on board, 20”x30”

The earliest landscapes were highly stylized abstractions based on simplified organic shapes, lines and textures. As in his earlier California abstracts, he used many unusual painting techniques and materials to mimic natural formations in nature.

Abstract Landscape #1 and #2, acrylic and mixed media on board, circa 1965, 12”X 18”

As the works transition towards realism, vast fields of abstracted foliage dominate the landscape. He develops a variety of dotted and dabbed brushwork techniques, using intense combinations of overlapping colors. A pure line can often be found at the horizon, representing a vast distant plane of land or water, struck by intense light.

Prairie, 1980, acrylic on canvas, 24”x36”

Twilight, 1988, acrylic on canvas, 30”x36”, State University College at Buffalo Collection

In some works, the vast fields become more detailed, taking on a more realistic interpretation of the land while still retaining intense color, pattern and texture. The horizons are high creating vast expanses of space as hills and mountains fade in the distance.

Lupines, 1979, acrylic on canvas, 18”x24” Along the Great Divide, 1981, acrylic on canvas, 24”x36”, State University College at Buffalo Collection

Often, a road or a river runs through the painting, weaving over and under and winding in and out of the rolling land masses.

Autumn Drive, 1978, acrylic on canvas, 24”x28” Chasm, 1974., acrylic on canvas, 30”x40”, Collection of State University at Buffalo

In the later works of the 80s and early 90s, any or all of these characteristics might be combined, creating mysterious and ambiguous relationships between realistic interpretation and pure abstraction.

Amazon, 1978, acrylic on canvas, 36”x48”

Summit, 1989, acrylic on canvas, 30x40, State University College at Buffalo Collection

On a more subjective level, the body of landscape works strike a precarious balance between time and place…day and night…

Dark Shadows, 1971,acrylic on canvas, 22”x36” State University College at Buffalo collection.

Moon Mist, 1978, acrylic on canvas, 20x26

…spring and summer…

Field of Flowers, 1978 , 24”x36”, Sullivan County Library Collection.

Sunflowers, gouache on board, 8”x10”

…fall and winter.

^ Winter Steps, 1996, alkyd on Board, 24”X 30”.

< Autumn Path,1972, acrylic on canvas, 16”x20”, State University

College at Buffalo collection.

His work was about where he was going…

Painted Desert, Arizona, 1984, acrylic on canvas, “18x24”

…and where he had been.

Yucatan,1980, acrylic on board, 24”x36”.

Looking at his work as a whole provides opportunities to make interesting connections between his personal style and the recurring ideas and themes he communicates in his art. The earliest abstract works began as groupings of rounded organic forms. These groupings can be traced throughout the body of work evolving and reappearing in various forms and in a variety of different themes.

1960’s: Annapurna, private collection

1970’s: Untitled, acrylic on canvas and mixed media papers, 36”x48”

1980’s- Gray and Yellow, 1987, acrylic on canvas, 19”x29” State University College at Buffalo Collection.

1990’s- Bone Series #1, Acrylic on canvas, 36”x 48”

Similar clusters of forms can even be found in landscape themes.

Blue Cypress, 1993, acrylic on canvas, 23” x 36” Gulfport Library collection

A second interesting observation is that there are a surprising number of works in which a perfect circle appears.

Three Wishes, 1980,acrylic on board, 24”x30 Kyoto, detail, 1981, Acrylic on canvas, 24” x72”

And, given his deep connection with nature, it is not surprising to find many examples of animals…

Two coyotes, 1995, acrylic on canvas, 24”x 36”, C.S.U.N. collection

…birds…

Blue Jays, 1990, acrylic on canvas, 24” x 30” State University College at Buffalo Collection

…and even critters within the landscapes.

Camouflage, 1996, acrylic on canvas, 30” x 36” , Gulfport Library Collection

Another important recurring device is the inclusion of prose or poetry from such favorite authors as William Butler Yeats, John Milton, or Dylan Thomas.

Detail, California Baroque, collection C.S.U.N. Revenge, Pencil on paper, 12”x18”

Most significantly I find that there are no random images or scenes. What is seemingly non-objective evokes the memory of a specific time and place. What is seemingly a specific place and time marks a significant event or turning point in the artist’s life.

Crater Lake, circa 1960, private collection 2:53 Richmond, 1974, graphite and felt tip pen

In 1981, he took a sabbatical from teaching, traveling to India to study symbolic art forms.

There, he became intrigued with cosmic tantric art and mandala diagrams. It resulted in a large series of abstract works that he continued to develop for the next ten years.

Cosmic Tantric Diagram-Depicting the evolution of the universe Western India, c.1700

Yellow and Gold Circle 1988 acrylic on canvas 42”x42” State University College at Buffalo Collection

The series unifying factor relies on the use of an unusual faux- painting technique.

A marble-like texture is implied by spray painting the crumpled canvas before it is stretched.

As a result, it conveys the idea of permanence, as if the events represented are “written in stone”, much like a monument or an historical marker.

Gold Circle with Four Squares, 1989, acrylic and spray paint on canvas, 28”x34”, Collection State University College at Buffalo

Concentric circles, lines, and other transparent geometric shapes are arranged to communicate ideas of time and space in relation to significant people and events in the artist’s life.

Grey Circle with Trapezoid 1988 Acrylic on Canvas and Spray paint 18”x36” Buff State

The fourteen works in the State University College at Buffalo’s Collection, represent the major portion of this series.

Red Circle Ascending, 1992, acrylic on canvas, 24”x48”, State University College at Buffalo Collection

Through the Looking Glass, 1972, acrylic on canvas, M. Wilson collection

490 Richmond Avenue- 1966-1972

Entry at Symphony Circle, 1976 Sketchbook drawing

69 Symphony Circle-1975-1980

The Studio

The entire third floor of the house was refinished to accommodate a large painting and drawing studio. Feather works and masks from a 1974 trip to Ecuador line one of the walls.

The house was an ideal setting for art, his own work, as well as many 19th century landscapes that he collected and restored …

…and for the many artifacts, antiques, sculptures and crafts collected on his travels around the world.

The writing library contained collections of antique books and journals of historical, scientific, and art –related interests. These were used as references for writing several non- fiction novels, stories short stories.

Many of his articles were published in Mankind Magazine from 1975 through 1976.

The art library contained art history and media references, antique books, and handmade illustrated books from ancient cultures.

^Persian Illustrated Manuscript

<Hindu Illustrated Codex

Hebrew Scroll on animal skin

The Music Room

Music could always be heard throughout the house. Jazz and Dixieland were the inspirations for many of his figurative paintings and drawings. Music was a necessary companion to the painting process, and anything from Beethoven to Japanese Flute music could be heard playing in the studio day or night.

Rehearsal, circa 1960, acrylic on canvas

His figurative style is uniquely based on caricature. Most of these are portraits of family and friends, engaged in everyday domestic activities…

Family Dining Room

Family Traditions, 1980, acrylic on canvas, 24” x 48”

…Playing cards or games…

Checkers, 1984, gouache and felt tip pen 6”x 8”

The Game Room

Bridge Game, 1987, acrylic on canvas, 18”x24”,collection of The Grand Island Senior Center.

Self-portrait, 1980, acrylic on canvas, 24”X36”

1980-1992

1905 West River, Grand Island

…Or, as in this rare self-portrait, enjoying outdoor activities.

Yellow Bayou, 1996, acrylic on canvas, 24”x36”, Gulfport Library Collection

1993-A few years after retiring from teaching in 1986, he relocated to the Mississippi Gulf Coast.

Full Moon,1995, acrylic/ canvas,18”x 24” Gulfport Library collection Rosemary Drive, Gulfport, Mississippi

Here, he painted many more landscapes that reflected the unique scenery of this region.

Causeway, 1994, acrylic on canvas, 24”x48” Gulfport Library Collection

Deep in the Bayou, 1990, acrylic on canvas, 22”x32” Gulfport Library Collection

And he continued to illustrate and write , completing eight children's stories.

On Oct. 9th 1996 he lost his battle with cancer.

Among some of the last works in his studio was this magnificent landscape, and a final poem on his desk entitled “The Shadow of the Hawk”

Into the Light, 1996, acrylic on canvas, 48”x72”, M. Wilson Collection

At his request, many of the landscape paintings, depicting the Mississippi Gulf Coast region, were donated to the Gulfport Public Library after his death.

Dunes at Sunset, 1995, acrylic on canvas, 24”x 36”

On August 29th 2005, Hurricane Katrina struck the Gulf Coast, destroying property and devastating thousands of lives. Among the many buildings washed away by the flood surge that day was the Gulfport Library. This work, Approaching Storm, and fifteen others of the artist’s regional landscapes were lost.

Approaching Storm, 1993, acrylic on canvas, 26”x36” Gulfport Library Collection

In 1963, he painted this figurative landscape. Its contains a quote by the poet, Thomas Grey, from “Elegy Written in a Country Churchyard”.I find it a fitting tribute to a man whose life’s passion was the places of his art. Here rests his head upon the lap of Earth…a Youth to Fortune and to Fame unknown…

Here Rests His Head, 1963, Acrylic on Canvas 36”x45” M. Wilson Collection

■ Written and researched by Marilyn Wilson

■ PowerPoint presentation created by Andrea Wilson

■ October 9th 2006

Marilyn and Andi, 1996 Acrylic on Canvas M. Wilson Collection

Grey Circle with Blue Stripes,

1992, acrylic on canvas, 48”x72”

Gold and Yellow

Circles, 1987,

Acrylic on canvas,

42”x42”

Gold Circle with Four Squares,

1989, acrylic on canvas,

28”x34”

Grey Circle with Trapezoid,

1988, acrylic on canvas, 24”x48”

Red Circle Ascending,

1992, acrylic on canvas, 24”x48”

Grey and Yellow, 1987, acrylic on canvas, 19”x29”

Alter Ego, 1988, acrylic on canvas, 15 ½”x26”

Duality, 1988, acrylic on canvas, 29 ½”x42 ½”

Cross Point,

1989, acrylic on canvas,

36”x 40”

Diamond, 1988,

acrylic on canvas,

36”x36”

Enigma, 1990,

acrylic on canvas,

40”x40”

Parallel Universe, 1974, acrylic on canvas, 32”x42”

Ravine, 1980, acrylic on canvas, 30”x40”

River Bend, 1967,

acrylic on canvas,

40”x60”

Bridge, 1970, acrylic on canvas, 22”x26”

Dark Shadows, 1971, acrylic on canvas, 22”x36”

Autumn Path, 1972,

acrylic on canvas,

16”x20”

Out of the Woods, 1974, acrylic on canvas, 36”x54”

Just Beyond the Ridge, 1975, acrylic on canvas, 36”x54”

Chasm, 1974, acrylic on canvas, 30”40”

Winter Field, 1974, acrylic on canvas, 36”x48”

Reflections, 1975, acrylic on canvas, 22”x30”

Blue Mountain Lake, 1976, acrylic on canvas, 40”x42”

Along the Great Divide, 1981, acrylic on canvas, 24”x36”

Purple Mountain, 1984, acrylic on canvas, 30”x40”

Twilight, 1988, acrylic on canvas, 30”x36”

Summit, 1989, acrylic on canvas, 30”x40”

Blue Jays, 1990, acrylic on canvas, 24”x30”

Campfire, 1991, acrylic on canvas, 24”x36”

Island, 1992, acrylic on canvas, 24”x36”