ABSTRACT
Albert C. Barnes’s own future would be intimately, but always somewhat inscrutably, intertwined with the translator of the African folktale that had appeared in the May 1926 issue of Opportunity. The group would take over a suite of hotel rooms as offices and spend their days at museums and churches where Barnes would dictate his reaction to frescoes and paintings on panels, glass, and parchment. The only individual work of art that de Mazia cited in her 1927 debut essay for Les Arts a Paris was Seurat’s Models. Barnes sent a copy inscribed “with compliments of Barnes” to de Mazia’s mother. The group would take over a suite of hotel rooms as offices and spend their days at museums and churches where Barnes would dictate his reaction to frescoes and paintings on panels, glass, and parchment. Barnes wrote at once to insist that the matter of reimbursement was strictly between her husband and himself.
