Charles William Bartlett (1860-1940) stands as a significant figure in the confluence of Western and Eastern artistic traditions at the turn of the 20th century. A British painter and printmaker, Bartlett's extensive travels and his deep engagement with diverse cultures, particularly that of Japan, shaped a unique visual language. His work, characterized by a sensitive use of color, evocative compositions, and a masterful command of various media, offers a compelling window into the landscapes and peoples he encountered, leaving an indelible mark on the Shin-hanga movement and the art scene in Hawaii.
Early Life and Artistic Formation
Born on June 1, 1860, in Bridport, Dorset, England, Charles William Bartlett's initial career path diverged significantly from the arts. He first pursued studies in metallurgy, a field in which he worked for several years. However, the allure of art proved irresistible. At the age of 23, Bartlett made a decisive shift, enrolling at the prestigious Royal Academy of Arts in London. Here, he immersed himself in the fundamentals of painting and etching, laying the groundwork for his future artistic endeavors.
Seeking to broaden his artistic horizons, Bartlett, like many aspiring artists of his generation, traveled to Paris. He continued his studies at the Académie Julian, a renowned private art school that attracted an international cohort of students. Under the tutelage of influential academic painters such as Gustave Boulanger and Jules Joseph Lefebvre, Bartlett honed his skills, absorbing the rich artistic atmosphere of the French capital, then the undisputed center of the Western art world. This period was crucial in refining his technique and exposing him to contemporary artistic currents, though his own style would later evolve in very personal directions.
His early works, primarily oil paintings, watercolors, and sketches, often depicted scenes from Brittany and Holland. These regions, popular with artists for their picturesque landscapes and traditional ways of life, provided Bartlett with ample subject matter. His proficiency gained recognition, and in 1897, he was invited to join the Société Nationale des Beaux-Arts in France, a testament to his growing stature in European art circles. His works were exhibited in various European museums and earned him accolades, including medals at Paris Expositions, signaling his arrival as a respected artist.
The Transformative Journey to the East
The year 1913 marked a pivotal turning point in Bartlett's life and art. Accompanied by his wife, Kate, he embarked on an extensive tour of Asia. This journey, initially intended as an artistic expedition, would profoundly influence his aesthetic sensibilities and thematic concerns. Their itinerary was ambitious, encompassing British India, Ceylon (now Sri Lanka), Indonesia, China, and finally, Japan. Each location offered a wealth of new sights, sounds, and cultural experiences, which Bartlett meticulously documented in sketches and watercolors.
In India, he was captivated by the vibrant colors, the spiritual atmosphere, and the architectural marvels. Works such as Amritsar, depicting the Golden Temple, Water Palace Udaipur, and Taj Mahal, Sunset emerged from this period, showcasing his ability to capture the grandeur and mystique of the subcontinent. These pieces often highlight his keen eye for atmospheric effects and his evolving color palette, which began to absorb the luminosity he encountered in the East.
His travels through Ceylon, Indonesia, and China further enriched his visual vocabulary. He was drawn to the daily life of the people, the lush landscapes, and the distinct architectural styles. These experiences provided a rich repository of images and impressions that would inform his work for years to come. However, it was his arrival in Japan in 1915 that would prove to be the most artistically consequential phase of his Asian sojourn.
Japan and the Shin-hanga Movement
Japan, at the time, was a country that had already fascinated the West for decades, leading to the Japonisme movement that influenced artists like James McNeill Whistler, Edgar Degas, and Mary Cassatt. Bartlett arrived at a moment when a new movement, Shin-hanga ("new prints"), was taking root. This movement sought to revitalize the traditional ukiyo-e woodblock printing by incorporating Western artistic conventions, such as perspective and naturalistic representation, while retaining the collaborative studio system and exquisite craftsmanship of Japanese printmaking.
A key figure in the Shin-hanga movement was the publisher Watanabe Shōzaburō. Recognizing Bartlett's talent and his unique Western perspective, Watanabe invited him to collaborate. This partnership was mutually beneficial. Bartlett provided fresh designs, often based on his travels in Asia as well as Japanese scenes, while Watanabe's workshop provided the master carvers and printers who could translate these designs into stunning woodblock prints.
Bartlett became one of the first and most successful Western artists to fully engage with the Shin-hanga process. He worked alongside other notable artists associated with Watanabe, including the Austrian Fritz Capelari and the Briton Elizabeth Keith, who also brought their unique cultural backgrounds to the Japanese print tradition. Japanese artists like Hashiguchi Goyō, Itō Shinsui, Kawase Hasui, and Hiroshi Yoshida were also central to the Shin-hanga movement, each contributing to its diverse expressions. Bartlett's prints from this period are celebrated for their lyrical beauty, subtle color gradations, and evocative portrayal of atmosphere. Titles such as Kobe from the Japan series and Peking (a woodcut from 1916 based on his China visit) exemplify his work during this time.
His involvement with Shin-hanga was significant not only for his own artistic development but also for the movement itself, as it demonstrated the potential for cross-cultural artistic collaboration. Bartlett's prints, with their blend of Western romanticism and Japanese aesthetics, found an appreciative audience both in Japan and internationally. He produced a total of 21 prints with Watanabe before World War I interrupted their collaboration and his planned return to England.
A New Home in Hawaii
The outbreak of World War I prevented Charles and Kate Bartlett from returning to England as planned. Instead, in 1917, they stopped in Hawaii en route and were so enchanted by the islands' beauty and welcoming atmosphere that they decided to make it their permanent home. This decision opened a new chapter in Bartlett's artistic career, one where the landscapes and people of Hawaii would become his primary subjects.
In Hawaii, Bartlett continued to paint and make prints, adapting his style to capture the unique light and tropical environment of the islands. He depicted the volcanic landscapes, the lush flora, serene beaches, and the diverse local population with sensitivity and skill. His Hawaiian works, while still showing the influence of his Japanese printmaking experience in their compositional elegance and color harmonies, also possessed a distinct sense of place.
Bartlett quickly became a prominent figure in the burgeoning art community of Honolulu. He was closely associated with the Honolulu Academy of Arts (now the Honolulu Museum of Art), founded by Anna Rice Cooke, a key patron of the arts in Hawaii. In 1928, Bartlett, along with other local artists such as John Melville Kelly and Alexander Samuel MacLeod, co-founded the Honolulu Printmakers. This organization played a vital role in promoting printmaking as an art form in Hawaii and continues to thrive today. His presence and work significantly enriched the local art scene, inspiring a generation of artists in the islands. Other artists active in Hawaii around this period or slightly earlier, like D. Howard Hitchcock, known for his depictions of Hawaiian landscapes and volcanoes, or Lionel Walden, famed for his seascapes, contributed to a vibrant artistic milieu, though Bartlett's international experience and printmaking expertise set him apart.
Artistic Style, Techniques, and Representative Works
Charles W. Bartlett's artistic style is characterized by its graceful synthesis of Western representational techniques and Eastern aesthetic principles. His training in European academies provided him with a strong foundation in drawing, perspective, and the use of light and shadow. However, his experiences in Asia, particularly his immersion in Japanese woodblock printing, led him to explore flattened perspectives, decorative patterning, and a more nuanced and atmospheric use of color.
In his watercolors, Bartlett demonstrated a fluid and expressive touch, capturing the transient effects of light and weather. His oil paintings often possess a rich texture and a strong sense of composition. However, it is perhaps in his woodblock prints that his unique artistic vision is most fully realized. Working within the Shin-hanga tradition, he embraced the collaborative process, where the artist's design was brought to life by the skilled hands of carvers and printers. This method allowed for subtle gradations of color (bokashi) and intricate details that are hallmarks of the finest Japanese prints.
His subjects were diverse, reflecting his extensive travels. Indian scenes like Amritsar, Water Palace Udaipur, and Taj Mahal, Sunset are celebrated for their romantic depiction of iconic landmarks. Chinese subjects include Gateway To Ming Tombs and the vibrant Peking. Japanese prints, such as Shoji, Japan or Kiyomizu Temple, Kyoto, capture the serene beauty and cultural richness of the country. His Hawaiian works, like Hawaiian Fishermen or views of Diamond Head, convey the idyllic charm of the islands.
A notable characteristic of Bartlett's prints is their narrative quality. They often depict figures engaged in daily activities or contemplative moments, inviting the viewer to imagine the stories behind the scenes. His use of color is particularly masterful, ranging from soft, muted tones to rich, vibrant hues, always carefully chosen to evoke a specific mood or atmosphere. He often favored compositions that emphasized strong diagonal lines or asymmetrical arrangements, reflecting Japanese design principles.
Other artists whose work might be considered in a similar vein of Westerners engaging with Eastern themes or printmaking include Helen Hyde, an American who also worked extensively in Japan creating color woodcuts, and Bertha Lum, another American artist known for her Japanese-inspired prints. While Bartlett's engagement with Watanabe and the Shin-hanga movement was distinct, these artists shared a common fascination with Japanese art and culture. His European contemporaries, such as Frank Brangwyn, who was also a prolific printmaker and painter with an interest in exotic subjects, provide another point of comparison, though Brangwyn's style was generally more robust and monumental.
Legacy and Collections
Charles William Bartlett passed away in Hawaii on April 16, 1940, at the age of 79 (some sources state 80, depending on calculation from birthdate). He left behind a significant body of work that continues to be admired for its beauty, craftsmanship, and cross-cultural appeal. His contributions to the Shin-hanga movement were substantial, helping to introduce this revitalized form of Japanese printmaking to a wider international audience. In Hawaii, he is remembered as a key figure in the development of the local art scene and a beloved artist who captured the spirit of the islands.
His works are held in the collections of numerous prestigious museums worldwide. In the United Kingdom, his art can be found at the British Museum, the Victoria and Albert Museum in London, the Fitzwilliam Museum in Cambridge, and Leeds Art Gallery. In the United States, the Honolulu Museum of Art holds a significant collection of his works, reflecting his long association with Hawaii. His prints are also sought after by private collectors and continue to appear in auction markets, attesting to their enduring appeal. For instance, his 1916 woodcut Peking and watercolors like Beach Ferry Side are examples of works that circulate among collectors.
Bartlett's legacy lies in his ability to bridge artistic worlds. He was a Western artist who not only depicted Eastern subjects but also engaged deeply with Eastern artistic processes. His work reflects a genuine appreciation for the cultures he encountered, and his prints, in particular, stand as a testament to the fruitful possibilities of cross-cultural artistic exchange. He demonstrated that traditional techniques could be revitalized and adapted to express a modern sensibility, creating art that was both timeless and of its time. His influence can be seen in the continued interest in Japanese prints and in the work of artists who seek to blend different cultural aesthetics.
Conclusion
Charles William Bartlett's artistic journey was one of exploration and synthesis. From his academic training in London and Paris to his transformative travels across Asia and his eventual settling in Hawaii, his life was a testament to an open and curious artistic spirit. He masterfully navigated different media, from oil and watercolor to the intricate demands of Japanese woodblock printing, creating a body of work that is both diverse and consistently engaging.
His role in the Shin-hanga movement, collaborating with Watanabe Shōzaburō alongside artists like Fritz Capelari and Elizabeth Keith, and in the context of Japanese masters like Kawase Hasui and Hiroshi Yoshida, secured him a place in the history of modern printmaking. Furthermore, his contributions to the art scene in Hawaii, including the co-founding of the Honolulu Printmakers, highlight his commitment to fostering artistic communities.
Bartlett's art transcends mere topographical depiction; it captures the essence of the places and people he portrayed, imbued with a sense of poetry and a deep appreciation for beauty in its many forms. His legacy endures in his captivating images, which continue to enchant viewers and offer a unique perspective on the rich interplay between Eastern and Western artistic traditions at a pivotal moment in global art history.
