الاستفسارالتاريخرؤى السوقنتائج المزاداتمجموعات المتاحفموارد إضافيةأعمال مماثلة
العودة

مارسدن هارتلي   (1877-1943)

الفنان بيو الاستفسارحميل PDF
 
Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit. Shortly after arriving in Paris by April 1912, Marsden Hartley received an invitation. It had come from Gertrude Stein and what he saw at her 27 rue de Fleurus flat stunned him. Despite his presumptions and preparedness, “I had to get used to so much of everything all at once…a room full of staggering pictures, a room full of strangers and two remarkable looking women, Alice and Gertrude Stein…I went often I think after that on Saturday evenings — always thinking, in my reserved New England tone, ‘ how do people do things like that — let everyone in off the street to look at their pictures?… So one got to see a vast array of astounding pictures — all burning with life and new ideas — and as strange as the ideas seemed to be — all of them terrifically stimulating — a new kind of words for an old theme.” (Susan Elizabeth Ryan, The Autobiography of Marsden Hartley, pg. 77)<br><br>The repeated visits had a profound effect. Later that year, Hartley was clearly disappointed when Arthur B. Davies and Walt Kuhn chose two of his still-life paintings for the upcoming New York Armory show in February 1913. “He (Kuhn) speaks highly of them (but) I would not have chosen them myself chiefly because I am so interested at this time in the directly abstract things of the present. But Davies says that no American has done this kind of thing and they would (not) serve me and the exhibition best at this time.” (Correspondence, Marsden Hartley to Alfred Stieglitz, early November 1912) A month later, he announced his departure from formal representationalism in “favor of intuitive abstraction…a variety of expression I find to be closest to my temperament and ideals. It is not like anything here. It is not like Picasso, it is not like Kandinsky, not like any cubism. For want of a better name, subliminal or cosmic cubism.” (Correspondence, Marsden Hartley to Alfred Stieglitz, December 1912)<br><br>At the time, Hartley consumed Wassily Kandinsky’s recently published treatise Uber das Geistige in der Kunst (The Art of Spiritual Harmony) and Stieglitz followed the artist’s thoughts with great interest. For certain, they both embraced musical analogy as an opportunity for establishing a new visual language of abstraction. Their shared interest in the synergetic effects of music and art can be traced to at least 1909 when Hartley exhibited landscape paintings of Maine under titles such as “Songs of Autumn” and “Songs of Winter” at the 291 Gallery. The gravity of Hartley’s response to the treatise likely sparked Stieglitz’s determination to purchase Kandinsky’s seminal painting Improvisation no. 27 (Garden of Love II) at the Armory Show. As for Hartley, he announced to his niece his conviction that an aural/vision synesthetic pairing of art and music was a way forward for modern art. “Did you ever hear of anyone trying to paint music — or the equivalent of sound in color?…there is only one artist in Europe working on it (Wassily Kandinsky) and he is a pure theorist and his work is quite without feeling — whereas I work wholly from intuition and the subliminal.” (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)<br><br>In Paris, during 1912 and 1913 Hartley was inspired to create a series of six musically themed oil paintings, the first of which, Bach Preludes et Fugues, no. 1 (Musical Theme), incorporates strong Cubist elements as well as Kandinsky’s essential spirituality and synesthesia. Here, incorporating both elements seems particularly appropriate. Whereas Kandinsky’s concepts were inspired by Arnold Schoenberg’s twelve-tone method of composition whereby no note could be reused until the other eleven had been played, Hartley chose Bach’s highly structured, rigorously controlled twenty-four Preludes and Fugues from his Well-Tempered Clavier, each of which establishes an absolute tonality. The towering grid of Bach Preludes et Fugues, no. 1 suggests the formal structure of an organ, its pipes ever-rising under a high, vaulted church ceiling to which Hartley extends an invitation to stand within the lower portion of the picture plane amongst the triangular and circular ‘sound tesserae’ and absorb its essential sonority and deeply reverberating sound. All of it is cast with gradients of color that conjures an impression of Cézanne’s conceptual approach rather than Picasso’s, Analytic Cubism. Yet Bach Preludes et Fugues, no. 1, in its entirety suggests the formal structural of Picasso’s Maisons à Horta (Houses on the Hill, Horta de Ebro), one of the many Picasso paintings Gertrude Stein owned and presumably staged in her residence on the many occasions he came to visit.
Bach Preludes et Fugues No. 1 (Musical Theme) c. 1912-191328 1/2 x 21 in. (72.39 × 53.34 سم) زيت على قماش موضوعة على متن الطائرة
الاصل
كارل سبرينشورن ، ألباني ، نيويورك ، تم الحصول عليه من الفنان ، بحلول عام 1945
السيد والسيدة ألان د. إميل، نيويورك
متحف سولومون آر غوغنهايم، نيويورك، هدية مما سبق، 1964
A.M. Adler Fine Arts ، نيويورك ، المكتسبة مما سبق ، 1979
معرض ACA ، نيويورك
مجموعة خاصة، تم الحصول عليها مما سبق، 1979
مجموعة خاصة ، فلوريدا
العودة
الاستفسار

"ليس من الصعب أبدا رؤية الصور - عندما يكون مبدأ الصورة جزءا لا يتجزأ من الروح." - مارسدن هارتلي

التاريخ

بعد وقت قصير من وصوله إلى باريس بحلول أبريل 1912 ، تلقى مارسدن هارتلي دعوة. لقد جاء من جيرترود شتاين وما رآه في شقتها 27 شارع دي فلوروس أذهله. على الرغم من افتراضاته واستعداده ، "كان علي أن أعتاد على الكثير من كل شيء في وقت واحد ... غرفة مليئة بالصور المذهلة ، وغرفة مليئة بالغرباء وامرأتين رائعتين ، أليس وجيرترود شتاين ... كثيرا ما كنت أفكر بعد ذلك في أمسيات السبت - أفكر دائما ، في لهجتي المحجوزة في نيو إنجلاند ، "كيف يفعل الناس أشياء من هذا القبيل - دع الجميع في الشارع ينظرون إلى صورهم?... لذلك تمكن المرء من رؤية مجموعة واسعة من الصور المذهلة - كلها تحترق بالحياة والأفكار الجديدة - وغريبة كما بدت الأفكار - وكلها محفزة بشكل رهيب - نوع جديد من الكلمات لموضوع قديم. " (سوزان إليزابيث رايان، السيرة الذاتية لمارسدن هارتلي، ص 77)

وكان للزيارات المتكررة أثر عميق. في وقت لاحق من ذلك العام ، شعر هارتلي بخيبة أمل واضحة عندما اختار آرثر ب. ديفيز ووالت كون لوحتين من لوحاته التي لا تزال حية لعرض مستودع أسلحة نيويورك القادم في فبراير 1913. إنه (كون) يشيد بهم (لكن) لم أكن لأختارهم بشكل رئيسي لأنني مهتم جدا في هذا الوقت بالأشياء المجردة مباشرة في الوقت الحاضر. لكن ديفيز يقول إنه لم يفعل أي أمريكي هذا النوع من الأشياء ولن يخدموني ويخدم المعرض بشكل أفضل في هذا الوقت". (مراسلات، مارسدن هارتلي إلى ألفريد ستيغليتز، أوائل نوفمبر 1912) وبعد شهر، أعلن رحيله عن التمثيل الرسمي "لصالح التجريد الحدسي... مجموعة متنوعة من التعبيرات التي أجدها الأقرب إلى مزاجي ومثلي العليا. انها ليست مثل أي شيء هنا. إنها ليست مثل بيكاسو ، إنها ليست مثل كاندينسكي ، وليس مثل أي تكعيبية. للحاجة إلى اسم أفضل، تكعيبية خفية أو كونية". (مراسلات، مارسدن هارتلي إلى ألفريد ستيغليتز، ديسمبر 1912)

في ذلك الوقت ، استهلك هارتلي أطروحة فاسيلي كاندينسكي المنشورة مؤخرا أوبر داس جيستيج في دير كونست (فن الانسجام الروحي) وتابع ستيغليتز أفكار الفنان باهتمام كبير. من المؤكد أن كلاهما تبنى التشبيه الموسيقي كفرصة لإنشاء لغة بصرية جديدة للتجريد. يمكن إرجاع اهتمامهم المشترك بالتأثيرات التآزرية للموسيقى والفن إلى عام 1909 على الأقل عندما عرض هارتلي لوحات المناظر الطبيعية لولاية مين تحت عناوين مثل "أغاني الخريف" و "أغاني الشتاء" في معرض 291. من المحتمل أن تكون خطورة استجابة هارتلي للأطروحة قد أثارت تصميم ستيغليتز على شراء لوحة كاندينسكي الأساسية الارتجال رقم 27 (حديقة الحب الثانية) في معرض الأسلحة. أما بالنسبة لهارتلي، فقد أعلن لابنة أخيه عن قناعته بأن الاقتران السمعي / البصري بين الفن والموسيقى كان وسيلة للمضي قدما في الفن الحديث. "هل سمعت من قبل عن أي شخص يحاول رسم الموسيقى - أو ما يعادل الصوت بالألوان?... هناك فنان واحد فقط في أوروبا يعمل عليه (فاسيلي كاندينسكي) وهو منظر نقي وعمله بلا شعور تماما - في حين أنني أعمل بالكامل من الحدس واللاشعوري. " (D. Cassidy, Painting the Musical City: Jazz and Cultural Identity in American Art, Washington, D.C., pg. 6)

اكثر
الاستفسار
  • Hartley40169_history1
    مارسدن هارتلي، 1912. على متن باخرة في طريقها إلى باريس.
  • Hartley40169_history2
    ألفريد ستيغليتز ، 1902. الصورة: جيرترود كاسيبير.
  • Hartley40169_history3
    فاسيلي كاندينسكي، "الارتجال رقم 27"، 1912، متحف متروبوليتان للفنون، نيويورك.
  • Hartley40169_history4
    جيرترود شتاين تجلس في الاستوديو الخاص بها في باريس مع لوحات فنية حديثة معلقة على الحائط خلفها ، 1930. الصورة من مكتبة الكونغرس الأمريكي.
  • Hartley40169_history5
    بابلو بيكاسو، "Maisons à Horta (منازل على التل، هورتا دي إيبرو)"، مجموعة من جيرترود وليو شتاين.
  • Hartley40169_history6
    مارسدن هارتلي، "الموضوع الموسيقي رقم 2"، 1912، المتحف الوطني تيسن-بورنيميسا، مدريد، إسبانيا.
  • Hartley40169_history7
    مارسدن هارتلي، "الموضوع الموسيقي"، 1912.
  • Hartley40169_history8
    مارسدن هارتلي ، موضوع موسيقي (سيمفونية شرقية) 1913 ، متحف روز للفنون ، جامعة برانديز ، والثام ، ماجستير.
"يجسد عملي رؤى صغيرة للأشياء غير الملموسة العظيمة. ... سيقول البعض إنه أصيب بالجنون - سينظر آخرون ويقولون إنه نظر إلى شبكات السماء وعاد بجنون الروعة عليه. " - مارسدن هارتلي

رؤى السوق

  • Hartley40169_market

  • تم تحديد السعر القياسي للوحة مارسدن هارتلي في مزاد علني في مايو 2019 عندما بيعت "التجريد" (1912-1913) (كما هو موضح على اليسار) بأكثر من 6.74 مليون دولار أمريكي

  • بيعت تلك اللوحة في مزاد علني قبل ما يقرب من 10 سنوات (نوفمبر 2000) مقابل 2.2 مليون دولار أمريكي ، بزيادة في القيمة قدرها 205.77٪

  • من بين أفضل 5 سجلات مزادات لهارتلي ، 4 من هذه الفترة المبكرة التكوينية قبل عام 1920

الاستفسار

أفضل النتائج في المزاد

"تجريد" (1912-1913)، زيت على قماش، 46.5 × 39.8 بوصة (118.1 × 101 سم). يباع في كريستيز نيويورك: 22 مايو 2019 مقابل 6,744,500 دولار أمريكي.
"تجريد" (1912-1913)، زيت على قماش، 46.5 × 39.8 بوصة (118.1 × 101 سم). يباع في كريستيز نيويورك: 22 مايو 2019 مقابل 6,744,500 دولار أمريكي.
"منارة" (1915)، زيت على قماش، 40 × 32 بوصة (101.6 × 81.3 سم). يباع في كريستيز نيويورك: 21 مايو 2008 مقابل 6,313,000 دولار أمريكي.
"منارة" (1915)، زيت على قماش، 40 × 32 بوصة (101.6 × 81.3 سم). يباع في كريستيز نيويورك: 21 مايو 2008 مقابل 6,313,000 دولار أمريكي.
"بدون عنوان (لا تزال الحياة)" (1919)، زيت على متن الطائرة، 32 × 25.7 بوصة (81.3 × 65.4 سم). بيعت في دار سوذبيز نيويورك: 1 ديسمبر 2011 مقابل 3,218,500 دولار أمريكي.
"بدون عنوان (لا تزال الحياة)" (1919)، زيت على متن الطائرة، 32 × 25.7 بوصة (81.3 × 65.4 سم). بيعت في دار سوذبيز نيويورك: 1 ديسمبر 2011 مقابل 3,218,500 دولار أمريكي.
"لوحة رقم 6" (1913-1913)، زيتية على قماش، 40 × 30 بوصة (101.6 × 76.2 سم). بيعت في دار سوذبيز نيويورك: 22 مايو 2002 مقابل 2,759,500 دولار أمريكي.
"لوحة رقم 6" (1913-1913)، زيتية على قماش، 40 × 30 بوصة (101.6 × 76.2 سم). بيعت في دار سوذبيز نيويورك: 22 مايو 2002 مقابل 2,759,500 دولار أمريكي.
"كامدن هيلز من جزيرة بيكرز" (1938)، زيت على متن الطائرة، 22 × 28 بوصة (55.9 × 71.1 سم). يباع في كريستيز نيويورك: 19 نوفمبر 2015 مقابل 2,741,000 دولار أمريكي.
"كامدن هيلز من جزيرة بيكرز" (1938)، زيت على متن الطائرة، 22 × 28 بوصة (55.9 × 71.1 سم). يباع في كريستيز نيويورك: 19 نوفمبر 2015 مقابل 2,741,000 دولار أمريكي.

لوحات مماثلة تباع في مزاد علني

"تجريد" (1912-1913)، زيت على قماش، 46.5 × 39.8 بوصة (118.1 × 101 سم). يباع في كريستيز نيويورك: 22 مايو 2019 مقابل 6,744,500 دولار أمريكي.
"تجريد" (1912-1913)، زيت على قماش، 46.5 × 39.8 بوصة (118.1 × 101 سم). يباع في كريستيز نيويورك: 22 مايو 2019 مقابل 6,744,500 دولار أمريكي.

  • مثال أكبر من نفس الفترة

  • تكوين تجريدي قابل للمقارنة

  • سجل السعر القياسي لهارتلي في مزاد علني في عام 2019

"لوحة رقم 6" (1913-1913)، زيتية على قماش، 40 × 30 بوصة (101.6 × 76.2 سم). بيعت في دار سوذبيز نيويورك: 22 مايو 2002 مقابل 2,759,500 دولار أمريكي.
"لوحة رقم 6" (1913-1913)، زيتية على قماش، 40 × 30 بوصة (101.6 × 76.2 سم). بيعت في دار سوذبيز نيويورك: 22 مايو 2002 مقابل 2,759,500 دولار أمريكي.

  • مثال أكبر من نفس الفترة

  • تكوين مماثل للأشكال المجردة المكدسة

  • بيعت بأكثر من 2.7 مليون دولار في مزاد علني قبل 20 عاما

"أنتيب، لو فورت" (1888)، زيت على قماش، 23.6 × 31.9 بوصة. بيعت في سوثبيز نيويورك: نوفمبر 2011 بمبلغ 9,266,500 دولار
"أنتيب، لو فورت" (1888)، زيت على قماش، 23.6 × 31.9 بوصة. بيعت في سوثبيز نيويورك: نوفمبر 2011 بمبلغ 9,266,500 دولار

  • نفس الحجم والفترة

  • بيعت بأكثر من 1.87 مليون دولار منذ أكثر من 10 سنوات

"سلسلة برلين، رقم 1" (حوالي 1913)، زيت على لوح قماش، 18 × 15 بوصة (45.7 × 38.1 سم). بيعت في دار سوذبيز في نيويورك: 19 مايو 2010 مقابل 1,762,500 دولار أمريكي.
"سلسلة برلين، رقم 1" (حوالي 1913)، زيت على لوح قماش، 18 × 15 بوصة (45.7 × 38.1 سم). بيعت في دار سوذبيز في نيويورك: 19 مايو 2010 مقابل 1,762,500 دولار أمريكي.

  • مثال أصغر من نفس الفترة

  • وسط قابل للمقارنة ، على الرغم من لوحة أغمق

  • بيعت بأكثر من 1.76 دولار منذ ما يقرب من 12 عاما

لوحات في مجموعات المتحف

"الموضوع الموسيقي رقم 2 (Bach Preludes et Fugues)" (1912) ، زيت على قماش مثبت على الماسونيت ، 24 × 20 بوصة (61 × 50.8 سم) ، متحف تيسن-بورنيميسزا الوطني ، مدريد.
"الموضوع الموسيقي رقم 2 (Bach Preludes et Fugues)" (1912) ، زيت على قماش مثبت على الماسونيت ، 24 × 20 بوصة (61 × 50.8 سم) ، متحف تيسن-بورنيميسزا الوطني ، مدريد.
"حركات" (1913)، زيت على قماش، 47 × 46 7/8 بوصة (119.5 × 119 سم)، معهد شيكاغو للفنون.
"حركات" (1913)، زيت على قماش، 47 × 46 7/8 بوصة (119.5 × 119 سم)، معهد شيكاغو للفنون.
"صورة ضابط ألماني" (1914)، زيت على قماش، 68 1/4 × 41 3/8 بوصة (173.4 × 105.1 سم)، متحف متروبوليتان للفنون، نيويورك.
"صورة ضابط ألماني" (1914)، زيت على قماش، 68 1/4 × 41 3/8 بوصة (173.4 × 105.1 سم)، متحف متروبوليتان للفنون، نيويورك.
"الحركة، برمودا" (1916)، زيت على لوح القندس، 16 1/8 × 11 7/8 بوصة (41 × 30.2 سم)، مؤسسة بارنز، فيلادلفيا.
"الحركة، برمودا" (1916)، زيت على لوح القندس، 16 1/8 × 11 7/8 بوصة (41 × 30.2 سم)، مؤسسة بارنز، فيلادلفيا.
"رد الفعل ، ليكون لطيفا ، يجب أن يكون بسيطا." - مارسدن هارتلي

معرض الصور

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موارد إضافية

انظر ديفيد هوكني ودانا شوتز وديفيد سال والمزيد يناقشون أول رسام حديث عظيم في أمريكا في "7 فنانين عن حياة وعمل مارسدن هارتلي" من قبل قناة لويزيانا.
انظر ديفيد هوكني ودانا شوتز وديفيد سال والمزيد يناقشون أول رسام حديث عظيم في أمريكا في "7 فنانين عن حياة وعمل مارسدن هارتلي" من قبل قناة لويزيانا.
اقرأ عن معرض 2014 في Neue Nationalgalerie في برلين ، "Marsden Hartley: The German Paintings ، 1913-1915" في هذه المراجعة في مراجعة نيويورك تايمز.
اقرأ عن معرض 2014 في Neue Nationalgalerie في برلين ، "Marsden Hartley: The German Paintings ، 1913-1915" في هذه المراجعة في مراجعة نيويورك تايمز.
قم بزيارة "الحركة ، برمودا" في مؤسسة بارنز في هذا الفيديو حول أعمال هارتلي التجريدية من "صيف بروفينستاون العظيم".
قم بزيارة "الحركة ، برمودا" في مؤسسة بارنز في هذا الفيديو حول أعمال هارتلي التجريدية من "صيف بروفينستاون العظيم".

الاستفسار

الاستعلام - الفن واحد

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