Web Generator
  • A Barn in Tennessee, 2013
  • CGC Kukui, West Pacific, 2007
  • Delhi Rapids, 2014
  • Five Swans, 2016
  • Gut Trinken und Essen
  • Magura Woman, 2010
  • Miller Barn Two, 2016
  • Pride of Baltimore II, 2015
  • Seagull, 2015
  • The Kiss, 2012
  • Miller Barn, 2015
  • The Red Boat, 2015 – Jamestown
  • Totally, 16 x 20, 2016

David Stuart Hoornstra
Painter. Also designer, illustrator, writer, action figure.

Welcome to my new site with more art in larger sizes. There’s much more,
but its main purpose is to sell my art and art-related services. 

Scroll down for galleries of my paintings, photography, illustration and design.
There’s a section about buying originals or prints, with links to the price lists.
No image on the web can compare with seeing the art in person, and most people
want to meet the artist behind the painting.
 Art fairs are great for this. 
I’m not represented by a gallery; you buy direct. 
If you can’t catch me at an art fair, you can arrange to visit my studio.
On my Facebook page you might find a few updates, links and articles.
Coming soon: articles, essays, and updates on new work. Probably a blog, maybe
even videos of my painting process. Sign up below for updates and news.  
Fine-quality prints on stretched canvas are also available. I always keep some
in stock ready to ship, and I always bring a few to the art fairs. 

Greeting Cards are offered in the Prints/Prices PDF listing.
And, at the bottom, I just couldn’t resist adding My Life as an Action Figure.
It’s about the stuff that keeps me active, physically and socially.

Galleries: Oil Painting

Click the title to open gallery in a new window

Seascapes/Marine

Oil on canvas

Landscapes

Oil on canvas

Portraits

Oil on canvas and panel

Commissions

Oil on canvas and other natural media

Still Life, Floral, etc.

Oil on canvas

Owning art: about originals and Reproductions

Owning an original

An original oil painting should do what a photo cannot. Even the best “giclée” print on canvas cannot match the subtlety and intensity of the original pigment fixed in oil vehicle. Capturing the transparency of glazing effects is simply not possible, not to mention the three-dimensional quality of paint applied in impasto. And even the best print will not last as long as quality oil paint, which can keep its glow for centuries. This is what Keats might have meant when he wrote “A thing of beauty is a joy forever.”
This is why the Provenance sticker on your original will remind you to have the painting revarnished once every century. Varnish is not as durable as oil paints once they have polymerized. This happens after six months of drying time. Varnish should not be applied before then.

Purchasing a reproduction

If for whatever reason you cannot own the original, a reproduction is a good choice. “Reproduction” implies matching the original as closely as can reasonably be done short of painting it. We use “Giclée” technology to print a very accurate image of the original directly on real canvas, with a no-fade life well over a century. At a glance, with a coat of varnish, these reproductions can be mistaken for an original. For that reason I add a data block at the bottom of the image. When the canvas print is stretched like the originals on wooden frames, the information shows on the back as shown above. About editions: with “giclée” there is no limit to the number of perfect prints, so a numbered, hand-signed “limited edition” confers no real value. If the original is on canvas, so is a reproduction. If you print it on paper, it’s only a photo, not a reproduction, of the original.

Other Galleries

Work in progress

Oil on canvas: images showing stages in the painting process

Illustration

Illustrator, Photoshop, natural media and combinations

Photography

Galleries in progress: images from the West Pacific, Britain, America

Design

Advertising concepts, artifacts, even buildings. 

Medieval” artifacts

From SCA and related activities.

Get updates and announcements

Subscribe to hear about new paintings and items of interest.

Contact me

All questions, comments, and commission estimate requests will be promptly answered.
You can also order reproductions and cards through this page.

My Life as an Action Figure

As a child, I was small for my age and lacked confidence. When fencing arrived in my home town, it started me on the path to physical competence and confidence. I discovered what habitual, intense effort could do for mental and emotional well-being. I credit the leg conditioning provided by my sports for the fact that, at seventy, I still give the thirty-year-olds a run for their money.
 I am currently practicing my ice skating, planning to play hockey. These activities have also inspired adventures in travel, history reading and scholarship to balance the physical and intellectual sides of my life. The fact that swordplay and wooden ships are interlocked in history is no coincidence.

Modern Fencing

Teaching a 2015 Ann Arbor Sword Club (AASC) class.

I started in 1963 in Sault Ste. Marie with John Bailey, who later became a master. I became his assistant coach at age 17 and have not quit teaching for more than a couple of years since. I currently teach at the Ann Arbor Sword Club and the Ann Arbor “Y.” Between 1973 and 1985 I competed intensely, including five trips to the Nationals. Now, maybe one tournament a year.

Medievalism

At Saline Celtic Festival with favorite opponent, Matthew Stewart-Fulton (r).

In 1974, fencing led me to the Society for Creative Anachronism, where we do live-action knightly armored combat and rapier fencing as well as feasts and revels. A great deal of research and painstaking re-creation goes into our “artifacts.” I used to be known for my manuscript illumination. Now I’m into medieval scholarship. The link below right leads to those items.

Historical European Martial Arts (HEMA)

Teaching at the first Michigan HEMA gathering, hosted by A2 Sword Club.

In the late 1990s The Ann Arbor Sword Club was fortunate to have Dr. Jeffrey Forgeng in residence. By introducing us to researched historical swordplay, he put us on the ground floor of a movement now hitting its stride worldwide. Jeffrey’s translations of medieval “fechtbuchs” reflect his historical, linguistic and swordplay expertise and make him a top authority for HEMA. 

History and the Sea

They let us “hale and draw” on the Pride of Baltimore II, ’06. Painting on site.

In the Coast Guard I served two years “before the mast” on a slow freighter to China – literally – and never quite got the salt out. Visits on HMS Victory and USS Constitution, plus six times through Patrick O’Brian’s 20 sea novels haven’t done it. I want to be ready for the next chance to stand on a rolling deck or go aloft. In the meantime I am painting more maritime subjects, some historical.