ABSTRACT
This chapter explores instead why the post World War II era saref pushed the artist to the margins personally and historically. It explains Julia Thecla's attempt to counter her increasing invisibility with a new series of planetary paintings in the 1960s that she clearly hoped would reinvigorate her career. Thecla enjoyed what many would categorize as a successful artistic career. From 1938 to 1943 Thecla and many other female artists were employed by the Illinois Art Project which operated under the umbrella of the Federal Art Project of the Works Progress Administration and was fundamental to the development of Thecla's artistic career. It is important to note that Thecla was fully aware of the art market and its implications for her future. Thecla's satellite images more effectively respond to the formalist criteria of the New York School because they are more abstract and appear to lack her signature self-portrait.
