Jennifer Losch Bartlett

Known for her painted images that appear to move back and forth in a progressive way, Jennifer Bartlett conveys a sense of computer systems operating behind the visual movement of her work, which is both abstract and realistic.

She was trained at the Yale School of Art and Architecture at a time when Abstract Expressionism was all-prevalent, and she wearied of this style and its limitations of single images.

One of her major pieces, "Rhapsody," completed in 1976 in New York, covered the walls of the Paula Cooper Gallery with 988 variations of mountains, trees, oceans and houses. They were paintings on enamel on twelve-inch steel plates, and each plate had a silk screened grid with a total of 2304 spaces.

For the Federal Building in Atlanta, Georgia, she created a two-hundred foot mural that had both steel plates and canvas, and in 1981, she did a thirty-foot long mural of a garden, whose theme she painted in smaller works throughout the building.

Source: "American Women Artists" by Charlotte Streifer Rubinstein

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Jennifer Bartlett's distinguished career as a painter and printmaker has spanned over thirty years in which her prints and paintings have been exhibited in many of the most respected museums and galleries around the world. Institutions such as The Tate, London; Whitney Museum of American Art, New York; Israel Museum, Jerusalem; The Metropolitan Museum of Modern Art, New York and The Museum of Modern Art, New York represent a small detailing of her extensive list of public collections.

A survey of her work, whether by catalogue or exhibition, reveal paintings and prints where both realism and abstraction are often given equal status. Typically, influences of Pointillism, Impressionism and Expressionism as well as subtle nuances of Matisse, Johns and Pollock are clearly and joyfully evident.

In Bartlett's works, what may often appear as mundane images, houses, trees and water, have consistently been the source of some of the most significant and interesting exploration in her work. In one of her most prolific and recurring images, the house, we see what Bartlett has loosely referred to as "an alter egoa metaphor for the different phases of her lifethe house as a symbolic portrait of people"

Source: Artbrokering.com

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