Wherever he went, Barton took note of the plant life around him, also casting his eye on birds, fish, and other small, domestic creatures. His passion for plants was shared by Henry Evans, who made his own botanical prints, and Evans’s wife Patricia, with whom Barton collaborated on the volume A Modern Herbal (1961). Whether tracing a common houseplant or an exotic bloom, Barton’s sinuous line was perfectly suited to the visual description of botanical specimens.
This elegant drawing, featuring one of Barton’s customized stamps at the top, illustrates his predilection for plant life. Although such works recall the spare botanical drawings of Henri Matisse (1869–1954), with whom he was certainly familiar, Barton developed an idiosyncratic repertoire of marks, such as those that denote the nodes of the central stem.
Although each of these sheets is signed and dated, suggesting that the drawings are autonomous, they also form halves of a pair. The two works can be hung together, as they are here, resulting in a more imposing composition.
Barton had a close relationship not only with Henry Evans but also with Evans’s first wife, Patricia, who authored this twentieth-century update on a classic genre. Barton’s illustrations demonstrate his familiarity with his subjects, as well as his skill in representing flora both accurately and economically.
This portfolio combines two of Barton’s favorite subjects, hands and flowers. He privileges them equally, resulting in inventive compositions that seem to imagine a species that is both human and botanical.