Allan Stone

"Robert Baribeau, a disciple of the New York School's Abstract Expressionism, adds his own contemporary spin to that tradition. By allowing the natural impulse of his materials to spot, drip and smudge, Baribeau paints raw, tactile surfaces that are a feast of juicy strokes, stripes, polka dots, and other collaged textures and patterns. There is a dynamic tension in Baribeau's work between a surface of powerful exuberance and a sense of anomie. The splashed, scratched and scored surface is further enlivened by the collaged squares of polka-dot fabric, as well as by densely layered sheets of paper whose glued-down edges create seams that serve as a rough grid beneath the skin of the pigment, providing a casual armature to anchor the freely floating form."

- Allan Stone

Art In America

"Dense and intense, the paintings call to mind the gesturalism of de Kooning.  A palimpsest of irregular rectangles, triangles, and circular shapes in red, pink, orange, yellow and blue - hints at a classic Cubist landscape, albeit one heightened with rather raucous hues."
   - David Ebony, Art in America 

The New Yorker

A third-generation Abstract Expressionist who’s added plenty of tricks to the original New York School bag, Baribeau has the expected drips and heavy impasto, but his palette is considerably and irreverently brighter than those of de Kooning et al. Embedded in the paint are scraps of fabric, plastic sheeting, and wallpaper samples a la Rauschenberg’s “Combines.”
Baribeau ventures into installation as well, clustering canvases and painted cigar boxes in willfully clashing formations. There are also a few singular flowers and glasses that rise up from their stems like periscopes, comparatively quiet and contemplative amid the heavily worked abstractions.”
   - The New Yorker


Baribeau’s mixed-media approach to abstraction gives his canvases and objects an intensely material presence, producing a cycle of paintings, both passionate and playful.”

“Working on the scale of the human body,
Baribeau’s paintings recall the hybrid of Pop and abstraction in Robert Rauschenberg’s early combines.”

“Set into relief by the larger canvases, which literally became a background of painted fields, these contemplative, solitary figures appeared as serene moments in a field of colorful bedlam.”

  - Megan Heuer, ARTnews

The New York Sun

“An exploration of pleasing and riotous work in a palette  of bright jewel tones.” 
“Exuberant brushstokes, collage, and gobs of paint on canvas.”
  - Lizzie Simon, The New York Sun


“What do Robert Baribeau’s painting show us that we haven’t seen before?  They’re full of the painterly Sturm und Drang, the excitement about paint – narcissistic absorption in its fluid pleasures and seductive touch, self-dramatization through dramatizing the medium.”
       - Donald Kuspit, ARTFORUM

New American Paintings Blog

“He is the measure of what he purveys and so his canvases and paintings on paper are simple declarations or essays on the way in which all aspects of nature can be construed through color, form and texture.  Baribeau too is primed for intense colors, an ever-changing spectrum of vibrant hues that distinguish these paintings; colors like nature explode.”
Baribeau’s latest paintings make me think of the late Twombly—bright, raw yet accomplished. What if Twombly had stayed in the US; what would his paintings looked like and the subject matter been about? Would the banks of the Hudson River been as impressive as the sea at Sperlonga? Would Twombly embrace the literary myths of Washington Irving and James Fennimore Cooper? Without using words Baribeau certainly has invoked those writers’ legends in the torrents of paint he shrouds a verdant landscape.”
       - Michael Klein, New American Paintings Blog

The New York Times

“His largish paintings are bold, brushy abstractions, with bits of patterned cloth added as collage elements.”
“Paint is dripped, piled on in clumps, smeared and scraped. Colors are strong and varied. Does it matter that Mr. Baribeau’s works look like throwbacks to the 1950’s: like Rauschenbergs, with elements of Cy Twombly and Hans Hofmann added?  What’s most important is that they are vigorous pictures that convey sheer pleasure in the handling of paint.”

- Michael Kimmelman, The New York Times

The New York Times

“The Son of Abstract Expressionism!  With neo-New York School gusto, he energizes his surfaces – paper, canvas, smooth wood – by means of fat, drippy strokes and blobs of pigment, gessoed impasto, polka-dotted fabric, pieces of striped paper, jigsaw puzzle pieces and other embellishments.”
“Whatever he does, Mr. Baribeau’s painterly passion is exhilarating.”
                     - Grace Glueck , The New York Times
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