"Free Bird"

Gallery edition
Paper – 44” x 33.5”
Image – 40" x 29.5”
Edition of 125, 20 AP *, 10 PP *, 5 HC *

Parlor Edition
Paper – 28” x 22”
Image – 25” x 19”
Edition of 125, 20 AP *, 10 PP *, 5 HC *

2025 New Release 

Although there is much of great importance to be learned from art academia, some of the most meaningful and insightful thinking that I have learned and incorporated into my own work was from my 20 year friendship with Sparky (Charles M Schulz). For example, he would constantly stress that, “the artist is most successful when presenting something familiar in an unfamiliar angle.” He also felt that it was very important to not offend the viewer. In “Free Bird,” I wanted to make a work that expressed to the viewer the feeling of newly found freedom after several years in its absence. In the past few years, in the community of my Venice studio, as I continued to watch how we were experiencing living, and the concept of security and free speech was noticeably in question. Fortunately, recent local elections have produced a few individuals that are attempting to correct the course of that freedom. So as not to possibly offend the viewer and to bring in something familiar, New York’s Statue of Liberty, so associated with freedom, seemed to be the perfect vehicle of camouflage to welcome the viewer into the work. The drawing for the work was adopted from one of Sparky’s actual strip drawing constructions, that illustrated his character of Snoopy dressed as the Statue of Liberty holding a football instead of the torch. As I have for decades, had a close relationship with the birds around my studio and home, I have closely identified with them. As a result, I replaced the football with Sparky’s character of Woodstock, flying freely into living. –Tom Everhart 2025

Tom Everhart, born on May 21, 1952, in Washington, D.C., started his studies at Yale University of Art and Architecture in 1970. After independent study under Earl Hoffman in 1972 and returning to Yale in 1974, he completed his graduate work in 1976 and post-graduate studies at the Musée de l’Orangerie in Paris. He briefly taught at Antioch College from 1979 to 1980.

In 1980, Everhart met cartoonist Charles M. Schulz and was introduced to the Peanuts universe. Schulz's distinct line art resonated with Everhart, who incorporated it into his own work. Their collaboration led to Everhart creating Peanuts-themed projects, including magazine covers, art for the White House, and the Met Life campaign.

Everhart’s focus shifted to Peanuts-inspired paintings in 1988, following his treatment for cancer at Johns Hopkins Hospital. His work gained international acclaim, showing at the Louvre, the L.A. County Museum of Natural History, and the Charles M. Schulz Museum, among others.

In the 1990s, Everhart produced notable works like "Pigpen’s Dirtballs" and a series of lithographs. His book, "Snoopy, Not Your Average Dog," was published in 1997. His first solo museum show debuted in Japan in 2000, and his works featured in a CBS special tribute to Schulz.

Everhart discovered French Polynesia in 2000, influencing his vibrant color palette. He exhibited extensively, including solo shows like "Cracking Up" and "Boom Shaka Laka Laka: The Lagoon Paintings." In 2011, he held the "Crashing The Party" exhibition at the AFA Gallery in New York.

Everhart's partnership with Limelight Publishing began in 2012, producing over 80 mixed media screenprints. NBC's Today Show featured his work in 2013. Met Life commissioned over 40 pieces for their campuses in North Carolina.

He has given numerous lectures on Schulz's art, with highlights published in Artful Living in 2014. Exhibitions like "I’ve Got Ants In My Pants" (2015) and "RAW" (2016) further showcased his range. "Waves and Bubble Baths" (2017) marked his latest thematic exploration.

Everhart now divides his time between California and French Polynesia with his wife, Jennifer.