Eric Barth

Contemporary American Painting

We have additional works by this artist in our inventory. Please inquire.
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Midnight Blue Nocturne *

Evening, Lakeside

The Waves Will Always Roll 

The Long Lines of Winter  

As the Dark Clouds Descend  

In the Shadows

Laid Bare

From the Front of the House

The Light Grows Weak *

A Long Path to Nowhere

Desolate Way  

In the Blink of an Eye

Mountain View, Santa Fe

Santa Fe Evening

Santa Fe Study

Morning's Reverie  

Tesuque Creek Trail

Santa Fe, Late Afternoon, February

Reduced *

A Light through the Trees

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.

Critical Excerpts
"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."

Jacqueline Hall,
The Columbus Dispatch
, 2005

Recent Review

Keny Galleries: 3 exhibits showcase scope of modernism

 By  Melissa Starker

For The Columbus Dispatch Sunday December 8, 2013

  In 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.

"The reductiveness of their images, distilling things to their essence - it's a reflection of modernism," he said.

The quality 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.

In his 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 brushstroke.

Rounding out the gallery's display is "Black and White: Exceptional Works on Paper by American Modern Artists," which 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 demigod.



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