Frederic Clay Bartlett (1873-1953) | Illinois Historical Art Project

By William Tyre Frederic Clay Bartlett may not be a name that is instantly recognizable, but the artwork he created or collected helped establish Chicago as an important center for art in the first decades of the 20th century. The year 2023 marked the 150th anniversary of his birth, and the event brought together several scholars for a half-day symposium at Second Presbyterian Church, who discussed various aspects of his life, from his major mural commissions in the city to his advocacy for modern art, and from the significant collection of paintings he gave to the Art Institute of Chicago to his remarkable winter home, Bonnet House, in Fort Lauderdale, Florida. Bartlett’s story begins in 1863 when his father, Adolphus Clay Bartlett, traveled from Stratford, New York, to Chicago at the age of 19 to clerk in a hardware firm. He was made a partner in 1877, and five years later, the firm reorganized as Hibbard, Spencer, Bartlett & Co. It became one of the largest wholesale hardware firms in the country, and in 1904, Bartlett assumed the presidency after the death of William Hibbard. (The company was sold in 1962 for its “True Value” brand name, launching hundreds of retail hardware stores). Frederic’s father invested liberally in the common stock of local companies. He became a director of the Chicago and Alton Railroad, as well as the First National Bank of Chicago. He was also a founder and director of the Northern Trust Bank, and close friends with majority shareholder Byron L. Smith. Bartlett attended St. Paul’s School in Concord, New Hampshire, and Harvard School for Boys in Chicago. At nineteen, instead of pursuing a college degree, he traveled to Europe from Chicago to study art—a decision that would profoundly shape his artistic trajectory. ## Early Life and European Influences Bartlett was born on June 1, 1873, at the family home at 2222 S. Calumet Avenue, near the affluent Prairie Avenue district. His father, Adolphus Clay Bartlett (A.C.), was a prominent figure in Chicago’s hardware industry and originator of the True Value label—a testament to his entrepreneurial spirit and foresight. He attended St. Paul’s School in Concord, New Hampshire, and Harvard School for Boys in Chicago. However, at the age of nineteen, instead of pursuing a college degree, Bartlett traveled to Europe from Chicago to study art—a decision that would profoundly shape his artistic trajectory. This formative experience began with a visit to Munich, Germany, where he enrolled in the Royal Academy alongside Robert Allerton. The World’s Columbian Exposition of 1893 served as an undeniable catalyst for Bartlett’s artistic sensibilities; witnessing the grandeur of Beaux-Arts architecture and encountering masterpieces from across the globe ignited his passion for fine art. He was particularly captivated by Puvis de Chavannes, whose monumental compositions and symbolic narratives instilled in him a deep appreciation for narrative storytelling and visual grandeur. Bartlett's fascination with Puvis de Chavannes would continue to influence his later mural work. ## Artistic Training and Parisian Mentorship Bartlett’s European studies extended beyond Munich, culminating in enrollment at École Collin in Paris—where he honed his drawing skills under the tutelage of Jean-Paul Laurens and Edmond Aman-Jean. These masters imparted invaluable knowledge about artistic technique and fostered an understanding of the evolving artistic currents of the time. The École Collin's emphasis on meticulous observation and disciplined execution aligned perfectly with Bartlett’s burgeoning artistic sensibilities. He diligently practiced his craft, absorbing influences from Impressionism and Symbolism—movements that championed capturing fleeting moments of beauty and exploring psychological depth. His Parisian companionships included Robert Allerton, who shared a similar passion for art and fostered a lifelong friendship. Together, they embarked on an intellectual journey, delving into the philosophies and aesthetics of their era. ## Mural Commissions and Artistic Recognition Bartlett’s artistic ambitions quickly materialized in Chicago—where he established a studio in the Fine Arts Building on Michigan Avenue. His early commissions solidified his reputation as a talented artist and demonstrated his commitment to translating artistic vision into tangible form. Notably, he undertook the monumental task of decorating Second Presbyterian Church with a fresco depicting the Tree of Life and a heavenly choir—a project that showcased his mastery of technique and his ability to create harmonious compositions. This undertaking was particularly significant because it represented Bartlett’s embrace of Byzantine mural traditions championed by Puvis de Chavannes. He skillfully blended classical compositional principles with expressive symbolism, reflecting the spirit of his time. Furthermore, Bartlett's dedication to promoting modern art extended beyond his own artistic endeavors—he served as a founding member of the Arts Club of Chicago—an organization instrumental in introducing avant-garde ideas and fostering a vibrant artistic community. ## Patronage and Legacy: The Art Institute Collection Bartlett’s discerning eye led him to amass an impressive collection of French Post-Impressionist and modernist art—primarily paintings by Monet, Cézanne, Van Gogh, Gauguin, Picasso, Matisse, and Kandinsky. He generously donated these artworks to the Art Institute of Chicago—enriching its holdings and establishing its reputation as a leading institution for modern art. His contribution underscored his belief in sharing artistic treasures with the public and furthering the appreciation of beauty and innovation. Frederic Clay Bartlett passed away in 1953, leaving behind a legacy that transcends mere artistic achievement; he was instrumental in transforming Chicago into a significant center for modern art—a testament to his unwavering commitment to fostering creativity and shaping cultural identity. His story serves as an inspiration to artists and collectors alike—reminding us that true artistic impact lies not only in creating beautiful objects but also in nurturing the creative spirit of a community.