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Emy RoederTwo Goats
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Susan Teller Gallery, prior to 2005 (one of Barnet's friends and dealers)
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Born in 1911 in Beverly, Massachusetts, Barnet knew by the age of ten that he wanted to be an artist. As a student, he studied with Philip Leslie Hale at the School of the Museum of Fine Arts, Boston and viewed first-hand John Singer Sargent at work on the murals of the Boston Public Library. In 1930, Barnet studied at the Art Students League of New York, with Stuart Davis and Charles Locke, beginning his long association with the school. Here he concentrated on painting as well as printmaking, and, in 1936, he became the official printer for the Art Students League. There, he later instructed students in the graphic arts at the school and taught alongside the likes of Yasuo Kuniyoshi, Robert Beverly Hale and Richard Pousette-Dart. Barnet influenced a generation of artists, including James Rosenquist, Knox Martin, Emil Milan, Paul Jenkins, Ethel Fisher and Cy Twombly. Barnet continued his love of teaching with positions at the Cooper Union, at Yale University, and at the Pennsylvania Academy of Fine Arts. He was represented by the Bertha Schaefer Gallery in New York City. Barnet had three sons, Peter, Richard, and Todd Barnet, by his first wife Mary Sinclair. Barnet later married Elena Barnet, with whom he had a daughter, Ona Barnet.
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A longtime resident of the National Arts Club, Barnet died in New York City on November 13, 2012, at the age of 101.
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Barnett's works span the various "movements" of their era, from his early social realist work to his final signature style of clean lines and carefully placed volumes of solid color in a kind of minimalist representational approach. His work is concerned with humanity, yet at his core he always remained a formalist, cerebral in his approach to the elements that make up a good picture. In his interviews he articulated his well thought out principles regarding color use, composition and subject matter, in a professorial manner reflecting the theoretical acumen he brought to his teaching. Like many American painters of his generation he was digesting the evolving trends in Europe and integrating the new visual vocabulary into his American style while remaining universal, referencing his own personal history with images of his wife, his daughter, and their family pets. As James Thomas Flexner wrote, Barnet's work "makes us experience the interplay between the personal and the universal." While remaining representational, the simple elegance of the figures and their flat surfaces reflect his exploration with abstraction.
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