Emery Bopp

"Having a strong sense of his Christian faith," in 1951 Bopp joined the art faculty of Bob Jones University (BJU) in Greenville, South Carolina. Two years later, as a thirty-year-old, he was named chair of the division, a position he held for the next 39 years.[4] Later chided by colleagues for investing more time in teaching than in his own work, Bopp responded that teaching was itself "a high calling, an art form with a lasting fruit."[5] A former student, who eventually renounced evangelical Christianity, nevertheless said of Bopp that he was "the first man I met who didn't use his intelligence to transform theology into a weapon. He employed his formidable intelligence to make us into artists and to feed our souls. The best teacher I've ever had. He was a man of such deep spirituality that it was his and rock solid and didn't need to be propped up by talking about it and pushing it on students."[6]

Bopp was an active member of the South Carolina Artist's Guild, exhibiting extensively and adjudicating competitions throughout the southeast. He won numerous awards, and his work is represented in such museums and permanent collections as the Addison Gallery of American Art, Phillips Academy, the Hunter Gallery in Chattanooga, Tennessee, the South Carolina Arts Commission, Erskine College, the High Museum of Art, and the Greenville County Museum of Art.[7] Bopp also produced sculpture; and for thirty summers, he was associated with the studio of Louis Paul Jonas.[8]

Bopp was a versatile artist using a variety of pictorial techniques in his paintings. One critic noted the unusual amount of design in his work and praised its "master craftsmanship." Bopp himself said he thought he might have made "a carpenter instead of a painter."[9] Bopp also emphasized spiritual symbolism with a "subtle interaction of color and the geometric construction of shape and space" that indicated the influence of Albers.[10] Bopp stressed "the contemplative, intellectual element in his work," in one case basing a symbolic painting reflecting Platonic universals on Escape from Reason (1968) by Francis Schaeffer.[11]