Macena Barton Important Chicago Modernist Feminist Surrealist Oil Painting As Is

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Item: 305303945955

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Artist:Macena Barton
Unit of Sale:Single-Piece Work
Signed By:Macena Barton
Size:Large
Custom Bundle:No
Date of Creation:1958
Region of Origin:US
Framing:Framed
Personalize:No
Listed By:Dealer or Reseller
Year of Production:1958
Original/Licensed Reproduction:Original
Width (Inches):29
Painting Surface:Canvas
Style:Modernism,Surrealism
Features:Framed,Signed
Handmade:Yes
Item Width:N/A
Culture:USA
Time Period Produced:1950-1959
Signed:Yes
Color:Multi-Color
Title:Feminist Portrait
Period:Post-War (1940-1970)
Material:Oil
Subject:Portrait
Type:Painting
Height (Inches):39.5
Theme:Portrait,woman,feminism
Production Technique:Oil Painting
Country/Region of Manufacture:United States

Barton supported herself by working as proofreader at R. R. Donnelly, and she also worked for the Illinois Works Progress Administration (WPA) Easel program during the Great Depression. She was affiliated with both progressive, modern art groups (Chicago Society of Artists, No-Jury shows) and conservative ones (Association of Chicago Painters and Sculptors, Art Institute of Chicago). Her work reflected this balance, as she skillfully conveyed a likeness, displaying her technical mastery of the craft, and at the same time produced work that conveyed a modern and unique vision. Her work was included at the Century of Progress Exhibition in 1933 and 1934 as well as in the Art Institute’s Half Century of American Art Exhibit in 1933. Barton lived for fifty years in the Tree Studio Building, at 4 East Ohio Street, and had a long career, painting until she was eighty-one. In a 1931 No-Jury show at the Knoedler Galleries, Barton exhibited a “stunning Negress model” in a painting called Mitzi. She created Mitzi in response to The Courtezan Olympia, a book in which the influential Chicago art critic C. J. Bulliet argued that women could not paint nudes. She met the well-known art critic that same year, and began a very public, twenty-year-long relationship with him, while he was married. Bulliet became a stalwart promoter of her career, including her in his Art Masterpieces of 1933 and 1934. Bulliet wrote that her “aggressive portraits tell truths rather than flatter.” And he continued: “She can lay claim to being the first American woman to do a nude self-portrait. The portrait is not coy, but a brazen full standing figure with her arms behind her head and her gave fully engaging the viewer.” Barton gave this notable painting—now in the Friedman collection—to Bulliet. She continued to paint self-portraits and sensual nudes well into her seventies. Macena Barton graduated from the Art Institute of Chicago* in 1924 and held one-woman shows there as well as at Knoedler Galleries and Findley Galleries in Chicago. At the Institute, she was much influenced by the teaching of Leon Kroll, who in turn was influenced by Social Realism*. He encouraged her to develop her own style and to use her imagination, advice that she took to heart. Inspired by Kroll and also challenged by critic C.J. Bulliet in a book before they had met personally, she was responding to his remark that no woman had ever painted a first-rate nude. Barton was a committed feminist, sure that women could perform equally as well as men in art and other areas. She incorporated a variety of styles into her work including Realism* and Abstraction*, and artists on both sides of that fence tried to claim her. C.J. Bulliet, an art writer and subject of one of her portraits wrote: « The 'moderns' sense her as an individualist, an egoist, going her unique way, untrammeled by the 'schools'. The 'conservatives' recognize her technical equipment and note her contempt for the 'isms'. » (89) Barton became known for her richly colored figural and portrait paintings, and she received numerous portrait commissions. She and Bulliet became lovers, although he was married, and appeared to flaunt their public relationship by appearing together at social events and by him continuously promoting her work above others. In 1927, she earned the August Peabody Award at the University of Chicago, and from 1945 to 1956, earned first prizes at the Chicago Galleries Association. She was a Fellow of the International Institute of Arts and Letters, and a member of the Arts Club of Chicago and the Chicago Society of Artists*. For whatever reason Ms. Barton used slightly unstable materials. In this case you see some egotist spots on her neck the background etc. The work is so captivating however that they don’t detract tremendously. Sold “as is”.

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