Where to See Marsden Hartley

Marsden Hartley's paintings are held in numerous public collections in the United States. Major holdings are found at the Metropolitan Museum of Art and the Whitney Museum of American Art, both in New York City. Other significant collections include the Art Institute of Chicago; the Philadelphia Museum of Art; the Museum of Fine Arts, Boston; and the Columbus Museum of Art in Ohio. Hartley's work is also represented in the collections of the Frederick R. Weisman Art Museum in Minneapolis; the Sheldon Museum of Art in Lincoln, Nebraska; and the Portland Museum of Art in Maine, Hartley's home state. These institutions offer opportunities to view a range of Hartley's output, from early landscapes to late-career figurative works. Smaller collections can be found in university museums, such as the Yale University Art Gallery in New Haven, Connecticut; and in regional museums, such as the Wadsworth Atheneum in Hartford, Connecticut. These may hold a few pieces that offer insight into specific periods or themes in Hartley's career. Check museum websites for current exhibitions.

Marsden Hartley (1877-1943) is best known as an American modernist painter. However, he also produced a small number of prints, mainly late in his career. Hartley's printmaking occurred sporadically. His lithographs often relate to themes found in his paintings, such as his interest in German Expressionism and American folk art. These prints offer another view into his artistic concerns. In 1923, Hartley created a portfolio of lithographs titled "Twenty-Four Studies by Marsden Hartley". These black-and-white images show a range of subjects, from still lifes to portraits. They demonstrate his skill in capturing form and texture with simple means. Some of his prints were published by Alfred Stieglitz, an important figure in promoting modern art in America. Hartley's prints are not as widely known as his paintings, yet they provide insight into his wider artistic practice. They reveal his exploration of different media and his consistent engagement with modernism.

Marsden Hartley (1877-1943) is important for his early adoption of European modernism, and for his later return to American themes. He explored cubism and expressionism; his career moved between Europe and the United States. Hartley was part of the circle of Alfred Stieglitz, showing at Stieglitz's 291 gallery in New York as early as 1909. He lived in Europe from 1912 to 1915, where he met Gertrude Stein, and associated with German expressionists like Wassily Kandinsky and Franz Marc. During this time, he painted his "German Officer" series, which used military iconography. These paintings are now interpreted as coded memorials to Karl von Freyburg, a lieutenant Hartley was close to, who died early in the First World War. After his return to the US, Hartley spent time in New Mexico and Maine. He felt the Stieglitz circle had become too dominated by Georgia O'Keeffe. He consciously turned to American subjects, such as Maine seascapes and portraits of fishermen. He wanted to be seen as an American painter, not just a European modernist. His later figurative work, such as the series of paintings of Mount Katahdin, are examples of his distinctive style.

Marsden Hartley is known for his diverse artistic practice, encompassing painting, drawing, and printmaking. He experimented with various media throughout his career. Early in his career, Hartley worked primarily with oil paints, often applying them in thick, expressive layers. He also produced charcoal drawings and pastels. His time in Europe before the First World War influenced his adoption of modernist styles, including Cubism and Expressionism. These approaches are evident in his use of bold colours and simplified forms. Later, Hartley explored different techniques. He produced a series of paintings on glass during the 1940s. He also incorporated sand and other textural elements into his paintings to create a rougher surface. Hartley's printmaking included lithographs, which allowed him to further explore his interest in graphic design and simplified imagery. His stylistic shifts often reflected his emotional state and the specific subjects he was depicting, from the landscapes of Maine to portraits of his friends.

Marsden Hartley's emblematic imagery and bold use of colour influenced later artists. Jack Youngerman, for example, admired Hartley's work, along with that of Albert Pinkham Ryder, Arthur Dove, and Georgia O'Keeffe. These artists shared a vision that went beyond nature without completely abandoning its outward forms. Youngerman, like Kelly, looked to earlier generations of American artists, such as O'Keeffe, as a source of imagery. Hartley is not mentioned as often as Henri Matisse in surveys of artistic influence. However, Matisse's impact can be seen in the work of Max Weber and John Marin, as well as Milton Avery, Stuart Davis, and Audrey Skaling. Grace Hartigan was particularly influenced by Matisse's *Bather by a River* and *Variation on a Still Life by de Heem*, which she saw in a 1951 Museum of Modern Art retrospective. Around 1916, André Lhote incorporated Matisse's colour usage in flat planes, helping him to develop a version of synthetic cubism.

Marsden Hartley was receptive to a range of influences. In his college years, he studied Analytic Cubism, especially the work of Braque and Picasso. He also examined early Kandinsky and Miró. Along the periphery, he studied Matisse and Mondrian. Hartley undertook an exhaustive analysis of the structure within their paintings. Later, Hartley's fellow artists also had an impact on his work. He admired Albert Pinkham Ryder's dark paintings, as did many young American artists in the late 1950s. Hartley also took note of the imagery and colour of his contemporary Georgia O'Keeffe, as well as Arthur Dove. Critics of the Stieglitz circle encouraged Hartley to find inspiration in American subjects, urging him to return to Maine.

Marsden Hartley's most famous painting is *Portrait of a German Officer*, completed in 1914. The work is part of a series dedicated to Karl von Freyburg, Hartley's lover, who died early in World War I. Hartley spent time in Europe from 1912, including periods in Paris, where he encountered Cubism, and Munich, where he was drawn to the Blaue Reiter group. Kandinsky's work made a particular impression, and Hartley developed a style he called "Cosmic Cubism". He took these influences to Berlin in 1913. As militarism increased, Hartley explored military imagery in his art. *Portrait of a German Officer* includes German imperial flags, insignia, badges, and emblems such as the Iron Cross. The painting also contains personal references to von Freyburg, including his initials, age, and regimental number. The flattened, planar presentation shows the influence of Synthetic Cubism. The dark background adds to the painting's elegiac mood. The painting expresses a cosmic force, similar to Kandinsky's *Compositions*.

Marsden Hartley's artistic affiliations are complex, as he engaged with several movements during his career. Expressionism is often associated with Hartley, particularly early in his development. Expressionism valued personal experience, inwardness, and an artist-viewer relationship based on contemplation. However, Hartley's trajectory also intersected with Dadaism, a movement that emerged in Zurich in 1916. Dada was known for its rebellion against traditional conceptions of art and culture. Dada artists opposed nationalism and militarism, and they initially admired psychoanalysis and anarchism. They believed in the power of painting, poetry, and drama to revitalise society. Some Dadaists, particularly in Berlin, rejected Expressionism. They criticised Expressionist poets' emphasis on the transcendental. Dada artists sought forms that would appeal to the worker and assist a second revolution in Germany. Hartley's connection to Dada is less direct than his involvement with Expressionism. Understanding Hartley requires acknowledging his shifting allegiances and the diverse influences that shaped his output.