Eric continues to work on
the delicate cusp of reality and abstraction, delineation and dream. His
mastery of the oil pastel and traditional soft pastel media lends beauty,
mystery and often a spiritual tranquility to his art. The artist is
exploring an increasingly broad range of hues, tones and textures in his art
that reflect his command of his media and his interest in light, form and
texture in all seasons and times of day. Eric has exhibited successfully in
New York, Indianapolis and Memphis, as well as Columbus. Jim and I look
forward to experiencing the artist's most recent works of art with you.
"Ambiguous mixtures of abstraction and representation, Barth's
landscapes are dreamy interpretations of nature. More impressions than
depictions, these small scenes have an ethereal quality that gives them
exquisite lyricism. . . . Barth employs an unusual method of painting. Instead
of using brushes to apply pigment, he uses his fingers, alternating layers
of oil pastel and soft pastel to achieve suggestions of light, delicate
outlines of trees and reflections of sails in water. Such textural effects
can be seen in the intense scene A Night to Loose."
The Columbus Dispatch, 2005
Keny Galleries: 3 exhibits showcase scope of modernism
By Melissa Starker
For The Columbus Dispatch Sunday December 8, 2013
the trio of exhibitions at Keny Galleries, the respective techniques on
display are miles apart, but they come together through a "purity of
vision," as co-proprietor Tim Keny put it.
reductiveness of their images, distilling things to their essence - it's a
reflection of modernism," he said.
manifests in Eric Barth's abstract landscapes through an improvisational
approach to visualizing the natural world. Using soft and oil pastels, and
frequently his fingers, the artist captures still, familiar moments in
lovely, untouched places.
In The Start of Another Season, bare
trees rise above a forest floor covered in the blazing red of autumn
leaves, with the warmth and direct light of the sun out of the frame,
seemingly at a distance.
Alternatively, the sun appears in a bright haze at the center of The
Day Gives Way to Night. Its warmth generates strains of orange
and red that lick at the loosely formed landscape below.
The artist's technique gives each work a surface that appears
burnished until it's smooth and slightly distressed. That further
separates Barth's efforts from the expectations that arise with the word landscape and
conjures up a sense of something discovered.
landscapes, Marc Lincewicz reduces the world to clean, strong ink lines
backed by an occasional wash of tint. His works share with Barth's an air
of discovery, along with a feeling of specific moments commemorated.
In The Energy of the Approaching Storm,
a dense collection of fine lines reveals a darkening sky and a flat
landscape dwarfed by an incoming cloud mass. The small but evocative piece
practically generates its own electrical charge.
Lincewicz also experiments with paint in The
Blue Evening Field, in which a group of spindly weeds is made
lush by a cobalt backdrop. The colors shift subtly with each wide
the gallery's display is "Black and White: Exceptional Works on Paper by
complements the work of Columbus-based Lincewicz and Barth with a powerful
selection of prints and photographs by several top early-modern artists,
including Alfred Stieglitz and Paul Strand.
Grant Wood is represented with the 1940 lithograph February.
Charles Sheeler evokes the modern age through streamlined wheels and
pistons in the 1939 silver print Wheels (Boilers).
The rise of skyscrapers in the early 20th century is reflected in
Arthur Gerlach's 1930 photograph Worker Smoking Cigarette and
in James Allen's 1937 etching Spider
Boy. Gerlach's social-realist portrait of an average joe on a
towering building girder offers an engaging contrast to Allen's work -
which envisions its working-class subject as a chiseled, broad-shouldered