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Tom EverhartDrama Queen, 2006 - Framed2006
2006
About the Item
Tom Everhart
Original Limited Edition Lithograph on Rives BFK paper
2006.
Edition Size: 500, plus proofs.
Paper Size: 21.5 x 31 inches.
Framed size Approx.: 30 x 40 Inches
Publisher: S2 Editions, Ltd.
Signed & numbered by the artist
Excellent Condition.
TOM EVERHART (1952- ) The only visual artist taught by cartoonist Charles M. Schulz to be given legal permission to recreate Peanuts comic book characters in his work, Tom Everhart paints uses these cartoon subjects to balance familiarity with the unexpected. Everhart transforms Schulz’s painterly pen marks into gestural brushwork with splatters and drips in works like _26th Sleeping Beauty_ (2018). Introduced to Charles M. Schulz in 1980, Everhart impressed Schulz with his ability to recreate his art style, resulting in an ongoing partnership between the two artists. He earned undergraduate and graduate degrees from the Yale University of Art and Architecture and completed an independent study program with artist Earl Hoffmann at St. Mary’s College. Everhart also did postgraduate studies at the Musee de l’Orangerie in Paris.
- Creator:Tom Everhart (1952, American)
- Creation Year:2006
- Dimensions:Height: 21.5 in (54.61 cm)Width: 31 in (78.74 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Pembroke Pines, FL
- Reference Number:1stDibs: LU2382212053812
Tom Everhart
TOM EVERHART was born on May 21, 1952 in Washington, D.C. He began his under graduate studies at the Yale University of Art and Architecture in 1970. In 1972 he participated in an independent study program under Earl Hoffman at St. Mary’s College. He returned to the Yale School of Art and Architecture in 1974 where he completed his graduate work in 1976, followed by post-graduate studies at the Musee de l’Orangerie, in Paris. He taught Life Drawing and Painting, briefly from 1979 to 1980, at Antioch College. In 1980, Tom Everhart was introduced to cartoonist Charles M. Schulz at Schulz’s studios in Santa Rosa, California. A few weeks prior to their meeting, Everhart, having absolutely no education in cartooning, found himself involved in a freelance project that required him to draw and present Peanuts renderings to Schulz’s studios. Preparing as he would the drawings and studies for his large-scale skeleton / nature related paintings; he blew up some of the cartoonist’s strips on a twenty-five foot wall in his studio which eliminated the perimeter lines of the cartoon box, leaving only the marks of the cartoonist. Schulz’s painterly pen stroke, now larger than life, translated into painterly brush strokes and was now a language that overwhelmingly connected to Everhart’s own form of expression and communication. Completely impressed with Schulz’s line, he was able to reproduce the line art almost exactly, which in turn impressed Schulz at their meeting. It was directly at this time that Everhart confirmed his obsession with Schulz’s line art style and their ongoing relationship of friendship and education of his line style. A few years later, while still painting full-time on his previous body of work in his studio, Everhart began drawing special projects for Schulz and United Media, both in New York and Tokyo. These authentic Schulz-style drawings included covers and interiors of magazines, art for the White House, and the majority of the Met Life campaign. When Everhart was not painting, he was now considered to be the only fine artist authorized and educated by Schulz to draw the actual Schulz line. The paintings using Charles Schulz’s comic strip, Peanuts, as subject matter began and replaced the skeleton and nature related paintings in 1988. The inspiration came to Everhart in Johns Hopkins Hospital, where he was undergoing several operations for stage 4 colon / liver cancer in the summer of 1988. Everhart recalls lying in a hospital bed surrounded by enough flowers to open a florist shop, piles of art books and a stack of Peanuts comic strips sent to him by Schulz. The light streaming in from the window almost projected the new images of his future Schulz inspired paintings on the wall. All the images in Everhart’s work are in some respect derived from Schulz’s Peanuts comic strip.
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