David Barnett

"Black Cloud Over Chenequa, " Oil Pastel and Watercolor signed by David Barnett

1996

"Not Intended For Office Viewing Series, Section F" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece lower right. This piece fe...

"Space Sense" is an original oil pastel drawing on illustration board. The artist signed the piece lower right. It features three distinct scenes--a green rainy scene with two figure...

"Freelance" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece on the back. It depicts an artist walking through an abstracted wo...

"Destruction of the Apple Juice Pool" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece upper right. It features abstract marks ...

"Relentless - Face Off" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece center right. It features an abstract, surreal landsca...

"Nourishment, Shelter, Clothing, Art" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece on the back. This piece features an abst...

My 80's Heart "Token 7" 2019, gouache, acrylic, graphite, panel, blue, wood, orange

Watercolor, oil pastel, charcoal, ink, salt and Black 3.0 on watercolor paper, 22.25" high x 29.75" wide Pink, red, peach, orange, purple, black Framing available COA available upon...

Lightning My Load (2020), surreal abstract dream-like landscape, sky, skyscape, blue and orange "Lightning My Load" by Shamona Stokes portrays a dream...

Warm & Golden (2020), surreal abstract dream-like landscape, skyscape, garden, rainbow, flowers "Warm & Golden" by Shamona Stokes portrays a playful, ...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...

This Harry Beckhoff illustration is masterfully rendered and intricately designed in line and wash. It's as abstract as it's representational with its graphic style, clean lines, and flat patterning. Every element in the composition works in harmony without a line out of place. The flat and abstract nature of the work rivals that of the great modernist painters of the 1930s. Perhaps this was done for a major newsstand magazine like Collier's. Although he studied with Dean Cornwell and Harvey Dunn, he didn't pursue the style of painterly brushstrokes and impastos. Instead, he defined his forms with flat shapes, whose internal forms are defined by thin lines. The emphasis is more on silhouette and line than it is on texture and lighting. Beckhoff also described his work as having been influenced by illustrators like Pierre Brissaud...