David Barnett

"It's a Gusher I, " Original Colorful Ink Drawing signed by David Barnett

1997

"Oasis with Reindeer, Shaman, & Bear Tracks" is an original mixed media piece by David Barnett that incorporates iridescent watercolor, rubber stamps, and a pressed ginko leaf on 100...

"Up North Wisconsin Series: Art Escape~Relax! You're Going on Vacation" is an original mixed media work by David Barnett and daughter Sarah. Both have signed the work in the lower ce...

"Iris, Lilies, & Menarda" is an original mixed media piece by David and Sarah Barnett, signed in the lower left. The piece incorporates handmade paper embedded with plant matter, a collaboration between the artist and his daughter. The paper was then scanned and reprinted on archival paper and painted with abstract flowers in watercolor...

Artworks in David Barnett's 'Boston Tea Party' series present a playful vision of one of the foundational narratives of the United States. In the imag...

"Beaver Lake Beaver with Surround Sound Cows" is an original mixed media piece incorporating watercolor and ink on handmade paper by David Barnett and his daughter, Sarah. They both ...

"Up North Wisconsin Series: Morph Dog, Rabbit, & Beaver" is an original mixed media piece by David Barnett and his daughter, Sarah. This colorful piece incorporates watercolor, ink, ...

'Gratitude and Grace (Worn out Blue Jeans and Hydrangeas in September)' Original Artwork, Unframed _____________________ Early Autumnal nostalgia, hazy light on pillows of fading hy...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective pa...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective painting. The radical move for me was to discover that the real world of landscape lurked behind all that past work. My childhood in the mountains of Pennsylvania pervaded my “way of seeing” and I wanted to investigate and celebrate the infinite variety of tone, color and composition that I found around me. Sky, the structure of trees, mist and water appeared to fill a hunger to look again and again. There was mystery and danger lurking behind the beauty, and my aim was to try to avoid the cliché and explore the infinite structure of the visual landscape. Now I use my camera as a sketchbook and search for images that seem to offer odd structure and “mystery”. I shoot multiple points of view, cull, crop, and mostly discard. The surviving photographs become the catalyst for the paintings and the process is always a mediation between memory and the small image pinned to my easel...

"My life as a painter began in the late 1950s when abstraction was “The only game in town”. I followed and progressed through gesture, organic and finally, geometric non-objective pa...

Chinese ink on paper