At the Theater (1930s)

The 1930s open a new chapter in the art of Mária Barta. She moved away from a naturalistic approach, her paintings became plane and decorative. Some have identified the influence of Matisse and the Fauves in her approach during this period, which Barta combined with Art Deco. Others prefer to place her art between activism and the abstract aspirations of Szentendre, or cite the stylized figurative compositions of János Mattis-Teutsch as an analogy. Two important groups of themes in her oil paintings of the period (1930-1936) are the rituals, dances, masks and sun worship of primitive tribes; and scenes from the big city. These images have their origins in collages.

The painting In the Theatre combines the two themes mentioned above. As such, it draws heavily on the characteristics of primitive art and German expressionism. Thus, the lack of perspective and the reduction of form, the repetition of identical elements, the prominent body parts (faces, hands, eyes) suggest a method of visualising ancient rites. While the elongated heads and figures, the juxtaposition of positive and negative forms is a modern feature. The composition follows the stage layout: in the lower half of the picture, the spectators are visible from behind, while the spaces in between (in neutral colours) can be interpreted as beams of light illuminating the stage. Barta's treatment of the paint is loose.