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Vital Currents of American Art - the Figurative Works

Will Barnet

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"As painter, printmaker, and teacher, Will Barnet has made uniquely significant contributions to American Art for seven decades. Barnet's work reflects his ongoing participation in certain vital currents of American art, from the social realism of the 1930s to abstraction in the 40s and 50s, followed by a renewed concern for figuration from the mid-1960s onwards." — Gail Stavitsky, (2000).

This viewing room focuses on Barnet's figurative works from 1984 - 2007, both paintings and works on paper.

Vital Currents of American Art - the Figurative Works - Will Barnet - Viewing Room - Alexandre Gallery Viewing Room

Eos, 1973, oil on canvas, 58 × 58 in

In his nine-decade long career, Will Barnet created carefully structured abstract and figural works of spacious monumentality and measured intimacy, in which the natural influence of color, shape, and the compositional life of the canvas are honored.

Will Barnet's figural work references Egyptian hieroglyphics in their seemingly rigid structure, while invoking a sense of intimacy via careful details of composition and color. His abstract paintings convey varied geometric forms premised upon the same approach to space and structure as his realism. As he wrote of his relationship to the canvas: “We must realize that the quadrangle on which we draw or paint has basic dimensions and movements. It moves structurally according to its basic architecture, and the artist builds with the horizontal and vertical within the quadrangle’s architecture.”

Vital Currents of American Art - the Figurative Works - Will Barnet - Viewing Room - Alexandre Gallery Viewing Room

The Cigar, 1998-1999, oil on canvas, 30 1/8 × 45 in

Barnet was born in Beverly, Massachusetts, the youngest child of a large Eastern European family. During his early upbringing in the small coastal town, he forged a deep connection to the landscape, architecture, and atmosphere of New England, which he would return to throughout his career. He also studied the old masters from an early age, particularly Vermeer, whose mark is visible in the light and composition of many of his works. Barnet began his formal artistic studies at the School of the Boston Museum of Fine Arts, later moving to New York in 1931 to study at the Art Students League. He soon became the league’s official printer, and would continue printmaking throughout his career. Although his earliest work followed the trend of social realism, by the late 1940s, Cubist and other modernist experimentations gave way to an embrace of total abstraction, and throughout the 50s and 60s Barnet continued producing abstract work. In the 1960s he transitioned to the figural style for which he would be best recognized—his spacious, geometric scenes of family life (mostly his own), and portraits of pensive, solitary women in New England. Barnet would return to abstract work at the end of his life, starting in 2004 until his death in 2012.

During his long career, Barnet taught at the Art Students League, Cooper Union and Yale University. He was a member of the National Academy of Design and the American Academy of Arts and Letters, as well as a fellow of the Royal Society of Arts in London. In 2011, Barnet received the National Medal of Arts from President Obama in Washington DC.

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Eos, 1973, oil on canvas, 58 x 58 inches

Eos, 1973, oil on canvas, 58 x 58 inches

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The Cigar, 1998-1999, oil on canvas, 30 1/8 × 45 inches

The Cigar, 1998-1999, oil on canvas, 30 1/8 × 45 inches

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Now and Then, 1989, oil on canvas, 53 1/4 × 45 in

Now and Then, 1989, oil on canvas, 53 1/4 × 45 in

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Gramercy Park III, 2007, oil on canvas, 36 1/2 × 29 1/2 in

Gramercy Park III, 2007, oil on canvas, 36 1/2 × 29 1/2 in

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White and Yellow Top, 1986, oil on canvas, 30 1/2 × 35 1/4 inches

White and Yellow Top, 1986, oil on canvas, 30 1/2 × 35 1/4 inches

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The Family, 1992, oil on canvas, 29 1/8 × 42 1/2 inches

The Family, 1992, oil on canvas, 29 1/8 × 42 1/2 inches

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The Spider As An Artist, 1990, oil on canvas, 42 x 22 inches

The Spider As An Artist, 1990, oil on canvas, 42 x 22 inches

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Anticipation II, 2005, oil on canvas, 50 × 27 inches

Anticipation II, 2005, oil on canvas, 50 × 27 inches

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Three Generations, 1990, oil on canvas, 54 3/4 × 54 inches

Three Generations, 1990, oil on canvas, 54 3/4 × 54 inches

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The Swing, ca. 1974, watercolor and graphite on paper, 37 3/4 × 24 1/2 inches

The Swing, ca. 1974, watercolor and graphite on paper, 37 3/4 × 24 1/2 inches

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Untitled Study for the Terrace, ca. 1994, graphite and watercolor on vellum, 7 1/2 × 8 3/4 inches

Untitled Study for the Terrace, ca. 1994, graphite and watercolor on vellum, 7 1/2 × 8 3/4 inches

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Study for the Kitchen, 1992, carbon on vellum, 11 × 15 3/8 inches

Study for the Kitchen, 1992, carbon on vellum, 11 × 15 3/8 inches

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The Dream I, 1990, watercolor and carbon on vellum, 11 1/4 × 7 1/2 inches

The Dream I, 1990, watercolor and carbon on vellum, 11 1/4 × 7 1/2 inches

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Study for the Dream, 1990, watercolor and carbon on vellum, 17 1/4 × 9 1/2 inches

Study for the Dream, 1990, watercolor and carbon on vellum, 17 1/4 × 9 1/2 inches

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Emily Dickinson, June 1988 (8241 1st Version), 1988, charcoal on vellum, 9 x 7 1/2 inches

Emily Dickinson, June 1988 (8241 1st Version), 1988, charcoal on vellum, 9 x 7 1/2 inches

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Poem 1764, ca. 1989, charcoal on vellum, 17 × 11 1/2 in

Poem 1764, ca. 1989, charcoal on vellum, 17 × 11 1/2 in

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Study for Ariadne, 1980, watercolor on paper, 17 1/4 in diameter

Study for Ariadne, 1980, watercolor on paper, 17 1/4 in diameter

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Paean, 1978, hand colored serigraph, 31 1/2 × 35 1/2 inches

Paean, 1978, hand colored serigraph, 31 1/2 × 35 1/2 inches

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Eos, 1973, oil on canvas, 58 x 58 inches

Eos, 1973, oil on canvas, 58 x 58 inches

The Cigar, 1998-1999, oil on canvas, 30 1/8 × 45 inches

The Cigar, 1998-1999, oil on canvas, 30 1/8 × 45 inches

Now and Then, 1989, oil on canvas, 53 1/4 × 45 in

Now and Then, 1989, oil on canvas, 53 1/4 × 45 in

Gramercy Park III, 2007, oil on canvas, 36 1/2 × 29 1/2 in

Gramercy Park III, 2007, oil on canvas, 36 1/2 × 29 1/2 in

White and Yellow Top, 1986, oil on canvas, 30 1/2 × 35 1/4 inches

White and Yellow Top, 1986, oil on canvas, 30 1/2 × 35 1/4 inches

The Family, 1992, oil on canvas, 29 1/8 × 42 1/2 inches

The Family, 1992, oil on canvas, 29 1/8 × 42 1/2 inches

The Spider As An Artist, 1990, oil on canvas, 42 x 22 inches

The Spider As An Artist, 1990, oil on canvas, 42 x 22 inches

Anticipation II, 2005, oil on canvas, 50 × 27 inches

Anticipation II, 2005, oil on canvas, 50 × 27 inches

Three Generations, 1990, oil on canvas, 54 3/4 × 54 inches

Three Generations, 1990, oil on canvas, 54 3/4 × 54 inches

The Swing, ca. 1974, watercolor and graphite on paper, 37 3/4 × 24 1/2 inches

The Swing, ca. 1974, watercolor and graphite on paper, 37 3/4 × 24 1/2 inches

Untitled Study for the Terrace, ca. 1994, graphite and watercolor on vellum, 7 1/2 × 8 3/4 inches

Untitled Study for the Terrace, ca. 1994, graphite and watercolor on vellum, 7 1/2 × 8 3/4 inches

Study for the Kitchen, 1992, carbon on vellum, 11 × 15 3/8 inches

Study for the Kitchen, 1992, carbon on vellum, 11 × 15 3/8 inches

The Dream I, 1990, watercolor and carbon on vellum, 11 1/4 × 7 1/2 inches

The Dream I, 1990, watercolor and carbon on vellum, 11 1/4 × 7 1/2 inches

Study for the Dream, 1990, watercolor and carbon on vellum, 17 1/4 × 9 1/2 inches

Study for the Dream, 1990, watercolor and carbon on vellum, 17 1/4 × 9 1/2 inches

Emily Dickinson, June 1988 (8241 1st Version), 1988, charcoal on vellum, 9 x 7 1/2 inches

Emily Dickinson, June 1988 (8241 1st Version), 1988, charcoal on vellum, 9 x 7 1/2 inches

Poem 1764, ca. 1989, charcoal on vellum, 17 × 11 1/2 in

Poem 1764, ca. 1989, charcoal on vellum, 17 × 11 1/2 in

Study for Ariadne, 1980, watercolor on paper, 17 1/4 in diameter

Study for Ariadne, 1980, watercolor on paper, 17 1/4 in diameter

Paean, 1978, hand colored serigraph, 31 1/2 × 35 1/2 inches

Paean, 1978, hand colored serigraph, 31 1/2 × 35 1/2 inches