A life in color and clay

Kathryn Evelyn Bard Cherry began her path in Quincy, Illinois. Her hands learned the delicate discipline of fine arts through studies at the St. Louis School of Fine Arts, the New York School of Arts, and the Pennsylvania Academy of Fine Arts. In those early years, much of her focus rested on the surface of porcelain. She worked with china paintings, a medium that requires a steady hand and a quiet patience. This period of her life was marked by a specific kind of precision, where floral subjects were captured on ceramic forms.

The 1904 St. and Louis World's Fair brought a moment of recognition for this careful work. Her china paintings earned her a gold medal for female art during the exposition. Following this, she began showing her creations at the Saint Louis Artist's Guild. Her skill in craft was noted by the Boston Society of Arts and Crafts, which appointed her as a Master Craftsman.

From porcelain to canvas

As time passed, her focus shifted from the small, controlled surfaces of ceramics toward the broader expanses of oil on canvas, watercolor, and gouache. The subjects of her work remained rooted in the natural world, though the scale grew. She turned her attention to landscapes, marine scenes, and floral still lifes. Her paintings often captured the light of St. Louis or the coastal atmosphere of Gloucester, Massachusetts, where she kept a studio in Rocky Neck during her summers.

Her technical approach included several methods:

• Oil on canvas and canvas board
• Watercolor and gouache on paper
• Porcelain painting

In 1924, a specific work titled Fish, Fruit, and Flowers earned her a gold medal at the Kansas City Art Museum exhibition. Later, in 1926, her paintings at the Women's National Exposition brought a $1,000 prize and a bronze medal at a Kansas art exhibition.

Teaching and later years

Beyond her own studio practice, Cherry shared her knowledge with others. In 1912, she and her sister, Jessie M. Bard, taught at the Dawson Dawson-Watson Summer School of Painting and Handcraft. Her commitment to art education continued for many years at The Principia, where she served as Art Director from 1915 until 1931.

Her work was frequently seen in various galleries and collections, including the St. Louis Art League, the Kansas City Art Institute, and the Pennsylvania Academy. She remained active in the art community of St. Louis until her death in November 1931.