Cornelia Barns

Charles Barns initially entered law school, but then explored the sciences before launching a career as a newspaperman for the New York Herald.

As educational opportunities were made more available in the 19th century, women artists became part of professional enterprises, including founding their own art associations.

[7] Artists then, "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplyfying this emerging type through their own lives.

"[8] Cornelia Barns enrolled at the Pennsylvania Academy of Fine Arts in 1906,[9] where she became a pupil of William Merritt Chase and John Twachtman.

In another work Max Eastman wrote, "American Salon of Humorists" was a 1915 exhibit held in New York City at the Folsom Galleries.

In the February 10, 1918, issue of the New York Call, Cornelia was announced as a contributing editor to The Liberator, along with fellow cartoonist/illustrators Robert Minor, Boardman Robinson and Art Young.

[19] In 1925 the New Masses was announced as "A new radical magazine of arts and letters, without political affiliations or obligations but with sympathy and allegiance unqualifiedly with the international labor movement.

[2] "One Man--One Vote"[21] depicted two immigrant women with young children, juxtaposed with the stare from a male dandy in three-piece suit and walking stick.

In 1918, in its second year of publication, Cornelia Barns and Lou Rogers were listed as art editors for Margaret Sanger's Birth Control Review.