Sign on
gPowered byeMuseum
Artist: William Purinton Bomar
Title: Chinese Jazz
Date: c. 1960
Medium: Collage with paper and acrylic paint
Dimensions: Overall: 24 1/8 x 11 5/8 in. (61.2 x 29.5 cm) Framed: 28 7/16 x 15 11/16 x 1 5/8 in. (72.3 x 39.9 x 4.1 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

c. 1960
William Purinton Bomar
Artist: William Purinton Bomar
Title: Deep World Secret
Date: c. 1960
Medium: Oil/ mixed media on canvas
Dimensions: sheet: 2 3/8 x 6 in. (6 x 15.2 cm) frame: 8 1/8 x 11 7/8 in. (20.6 x 30.2 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

c. 1960
William Purinton Bomar
Artist: William Purinton Bomar
Title: Mystic Circle
Date: n.d.
Medium: Mixed media on paper
Dimensions: sheet: 10 3/4 × 10 1/2 in. (27.3 × 26.7 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

n.d.
William Purinton Bomar
Artist: William Purinton Bomar
Title: Neil's Italian Hat
Date: 1976
Medium: Oil on vellum
Dimensions: 27 9/16 x 21 7/16 in. (70 x 54.5 cm) Framed: 31 1/8 × 24 7/8 × 1 1/4 in. (79.1 × 63.2 × 3.2 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

1976
William Purinton Bomar
Artist: William Purinton Bomar
Title: Secret Temple
Date: n.d.
Medium: Mixed Media on paper
Dimensions: image: 14 × 12 in. (35.6 × 30.5 cm) Framed: 18 × 16 × 1 in. (45.7 × 40.6 × 2.5 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

n.d.
William Purinton Bomar
Artist: William Purinton Bomar
Title: Sketch For Neil's Italian Hat
Date: c. 1960
Medium: Charcoal on paper
Dimensions: Overall: 22 7/16 x 16 3/4 in. (57 x 42.5 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

c. 1960
William Purinton Bomar
Artist: William Purinton Bomar
Title: Study for Untitled painting (91.36.1)
Date: 1991
Medium: Pencil
Dimensions: Overall: 8 1/4 x 9 5/8 in. (21 x 24.5 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

1991
William Purinton Bomar
Artist: William Purinton Bomar
Title: Untitled
Date: 1991
Medium: Oil on canvas
Dimensions: Overall: 28 1/16 x 34 1/8 in. (71.2 x 86.6 cm)
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

1991
William Purinton Bomar
Artist: William Purinton Bomar
Title: Untitled
Date: c. 1960's
Medium: gouache
Dimensions: 22 1/2" H x 30 7/8" W
William Purinton Bomar United States (United States, 1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

c. 1960's
William Purinton Bomar