Cameron Booth (1892-1980) Spring Morning Oil on Canvas c. 1970 30 inches x 40 inches  

Cameron Booth (1892-1980) Pink and Grey 1972 Oil on canvas 24 inches x 42 inches Monogrammed 'CB' and dated along lower quadrant

Cameron Booth (1892-1980) The Artist 1946 Oil on canvas 30 inches x 25 inches Signed along upper right quadrant Bertha Shaefer Gallery, New York City Private Collection, MN Sold

Cameron Booth (1892-1980) Dude Kelly and White Horse 1942 Watercolor on paper 14 inches x 20 inches Signed and dated along the lower left quadrant

Cameron Booth (1892-1980) Lake of the Isles 1934 Gouache on paper 14 inches x 20 inches Signed and dated along lower left quadrant

Cameron Booth (1892-1980) Diner 1940 Gouache on paper 14.75 inches x 20.75 inches Signature and date along lower left quadrant

Cameron Booth (1892-1980) Chippewa Burial Ground 1940 Gouache on paper 14 1/2 inches x 20 1/2 inches Signed and dated along lower quadrant

Cameron Booth (1892-1980) Between the Sun and Me 1949 Oil on canvas 42 inches x 46 inches (106.68 cm x 116.84 cm) Lent by Cameron Booth to Minneapolis Institute of Art Exhibition number L58.530 Bertha Shaefer Gallery, New York, New York Private Collection, Minnesota Sold   Cameron Booth created this iconic painting in 1949 and exhibited it at the Minneapolis Institute of Art in 1958. The painting went on to be showcased at the legendary Bertha Shaefer Gallery in New York City. Booth painted "Between the Sun and Me" during an intensely creative time in his career. His began to focus on more abstract paintings and was intrigued by his exposure to the Abstract Expressionists while living in New York City. It was created after he returned to Minneapolis from New York where he was absorbed by the surrounding ethos and was drawn to the aesthetic advances of Abstract Expressionism that was being made. "Between the Sun and Me" generates an eloquent dialogue between abstract painting and recognizable forms. The spontaneity, energy and dynamism of the painting are elements of Abstract Expressionism, while the representational nature of the painting creates a poetic symbolism similar to the artworks of Joan Miro. The painting features a colorful, carnival like palette of ochres, reds, blues, greens, and pinks. A celestial body with elongated limbs is made up of swirling blocks of color interspersed with recognizable objects such as horses. The title helps identify the sun in the background, depicted with a wonderful ochre color and accentuating the dynamic scene. Booth created a tight painting by constricting space with beautiful progressions of color and interlocking forms. This complex composition enhances the rhythmic nature of the painting.  

Cameron Booth (1892-1980) Verdant 1958 Acrylic on linen 60 inches x 72 inches Signed and dated along the verso

Cameron Booth (1892-1980) Onigum Bay 1966 Oil on canvas 18 inches x 24 inches Signed and dated along lower right quadrant

Cameron Booth (1892-1980) Polo IV 1933 Etching on paper 5/30 8.25 inches x 11.75 inches Signed, editioned, and dated along lower quadrant

Cameron Booth (1892-1980) Untitled 1959 Etching on paper 19 inches x 25 inches Signed and dated along lower quadrant

Cameron Booth (1892-1980) Clam Bay Farm 1930 Oil on canvas 26 inches x 34 inches Signed dated along lower left quadrant Exhibitions: Art Institute of Chicago, 1934 A Century of Progress Exhibition of Paintings and Sculpture

Cameron Booth (1892-1980) Diner 1943 Oil on board 26 inches x 34 inches Signed and dated along lower left quadrant Exhibitions: Mortimer Brandt Gallery, New York 1943

Cameron Booth (1892-1980) Badlands 1939 Oil on board 24 inches x 36 inches Signed and dated along lower left quadrant Exhibitions: American Federation of Art, 1960 Wisconsin State University/Eau Claire, 1967 Exhibition on Cameron Booth and Chaim Gross