Barthé mingled with the bohemian circles of downtown Manhattan. Initially unable to afford live models, he sought and found inspiration from on-stage performers. Living downtown provided him the opportunity to socialize not only among collectors but also among artists, dance performers, and actors. His remarkable visual memory permitted him to work without models, producing numerous representations of the human body in movement. During this time, he completed works such as "Black Narcissus" (1929), "The Blackberry Woman" (1930), "Drum Major" (1928), "The Breakaway" (1929), busts of Alain Locke (1928), bust of A’leila Walker (1928), "The Deviled Crab-Man" (1929), Rose McClendon (1932), Féral Benga (1935), and Sir John Gielgud as Hamlet (1935).