אינקוויירריקה שוקימרקט תובנותתוצאותמוזיאום אוסףADDITIONAL RESOURCESSIMILAR WORKS
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מרסדן הארטלי (1877-1943)

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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.
באך פרלודים ופוגס מס ' 1 (נושא מוסיקלי) c. 1912-191328 1/2 x 21 אינץ '. (72.39 x 53.34 ס"מ) שמן על בד מונח על הסיפון
מקור ומקור
קרל ספרינצ'ורן, אולבני, ניו יורק, שנרכש מהאמן, על ידי 1945
מר וגברת אלן ד. אמיל, ניו יורק
מוזיאון סולומון ר. גוגנהיים, ניו יורק, מתנה מן האמור לעיל, 1964
א.M אדלר אמנויות יפות, ניו יורק, שנרכשה מהאמור לעיל, 1979
גלריות ACA, ניו יורק
אוסף פרטי, שנרכש מהאמור לעיל, 1979
אוסף פרטי, פלורידה
גב
לברר

"אף פעם לא קשה לראות תמונות – כאשר עיקרון התמונה מוטבע בנשמה." – מרסדן הארטלי

היסטוריה

זמן קצר לאחר שהגיע לפריז באפריל 1912, מרסדן הארטלי קיבל הזמנה. זה הגיע מגרטרוד סטיין ומה שראה בדירתה ברחוב דה פלורוס 27 הדהים אותו. למרות ההשערות והמוכנות שלו, "הייתי צריך להתרגל לכל כך הרבה מכל דבר בבת אחת... חדר מלא בתמונות מדהימות, חדר מלא בזרים ושתי נשים מדהימות למראה, אליס וגרטרוד שטיין. . . הלכתי לעתים קרובות אני חושב שאחרי זה במוצאי שבת — תמיד חשבתי, בנימה השמורה שלי בניו אינגלנד, ' איך אנשים עושים דברים כאלה — נותנים לכולם לצאת מהרחוב להסתכל על התמונות שלהם?... אז אפשר לראות מגוון עצום של תמונות מדהימות — כולן בוערות בחיים ורעיונות חדשים — ועד כמה שהרעיונות נראו מוזרים — כולם מעוררים להפליא — סוג חדש של מילים לנושא ישן". (סוזן אליזבת ריאן, האוטוביוגרפיה של מרסדן הארטלי, עמ ' 77)

לביקורים החוזרים ונשנים הייתה השפעה עמוקה. מאוחר יותר באותה שנה, הארטלי התאכזב בבירור כאשר ארתור ב. דייויס ווולט קון בחרו שניים מציוריו הדוממים לתערוכת הנשקייה הקרובה בניו יורק בפברואר 1913. "הוא (קון) מדבר עליהם בשבחם (אבל) לא הייתי בוחר בהם בעצמי בעיקר כי אני כל כך מתעניין בשלב זה בדברים המופשטים הישירים של ההווה. אבל דייויס אומר שאף אמריקאי לא עשה דברים כאלה והם (לא) ישרתו אותי ואת התערוכה בצורה הטובה ביותר כרגע." (התכתבות, מרסדן הארטלי לאלפרד שטיגליץ, תחילת נובמבר 1912) חודש לאחר מכן, הוא הודיע על עזיבתו את הייצוגיות הפורמלית "לטובת הפשטה אינטואיטיבית... מגוון של ביטויים אני מוצא להיות הקרוב ביותר לטמפרמנט שלי ואידיאלים. זה לא דומה לשום דבר כאן. זה לא כמו פיקאסו, זה לא כמו קנדינסקי, לא כמו כל קוביזם. "מחוסר שם טוב יותר, תת-הכרתי או קוביזם קוסמי." (התכתבות, מרסדן הארטלי לאלפרד שטיגליץ, דצמבר 1912)

בזמנו, הארטלי אכל את המסה של וסילי קנדינסקי שפורסמה לאחרונה Uber das Geistige ב der Kunst (אמנות ההרמוניה הרוחנית) ושטיגליץ עקב אחר מחשבותיו של האמן בעניין רב. מה שבטוח, שניהם אימצו אנלוגיה מוזיקלית כהזדמנות ליצירת שפה חזותית חדשה של הפשטה. את העניין המשותף שלהם בהשפעות הסינרגיות של מוזיקה ואמנות ניתן לייחס לפחות 1909 כאשר הארטלי הציג ציורי נוף של מיין תחת כותרות כגון "שירי סתיו" ו "שירי חורף" בגלריה 291. חומרת תגובתו של הארטלי לחיבור הציתה ככל הנראה את נחישותו של שטיגליץ לרכוש את ציורו המכונן של קנדינסקי אלתור מס ' 27 (גן האהבה השני) בתערוכת הנשקייה. באשר להארטלי, הוא הודיע לאחייניתו על אמונתו כי זיווג סינסתטי של אמנות ומוזיקה הוא דרך קדימה לאמנות מודרנית. "האם אי פעם שמעת על מישהו שמנסה לצייר מוזיקה - או שווה ערך לקול בצבע?... יש רק אמן אחד באירופה שעובד על זה (וסילי קנדינסקי) והוא תיאורטיקן טהור ועבודתו היא די חסרת רגש - בעוד שאני עובד לגמרי מאינטואיציה ומהתת-הכרתי". (ד. קסידי, ציור העיר המוזיקלית: ג'אז וזהות תרבותית באמנות האמריקאית, וושינגטון, ד.C, עמ' 6)

עוד
לברר
  • Hartley40169_history1
    מרסדן הארטלי, 1912. על סיפון ספינת קיטור בדרך לפריז.
  • Hartley40169_history2
    אלפרד שטיגליץ, 1902. צילום: גרטרוד קסבייר.
  • Hartley40169_history3
    וסילי קנדינסקי, "אלתור מס' 27", 1912, מוזיאון המטרופוליטן לאמנות, ניו יורק.
  • Hartley40169_history4
    גרטרוד שטיין יושבת בסטודיו שלה בפריז עם ציורי אמנות מודרניים תלויים על הקיר מאחוריה, 1930. תמונה דרך ספריית הקונגרס של ארה"ב.
  • Hartley40169_history5
    פבלו פיקאסו, "Maisons à Horta (בתים על הגבעה, הורטה דה אברו)," אוסף של גרטרוד וליאו שטיין.
  • Hartley40169_history6
    מרסדן הארטלי, "נושא מוסיקלי מס' 2", 1912, אל מוסאו נאסיונאל תיסן-בורנמיסה, מדריד, ספרד.
  • Hartley40169_history7
    מרסדן הארטלי, "נושא מוסיקלי", 1912.
  • Hartley40169_history8
    מרסדן הארטלי, נושא מוסיקלי (סימפוניה מזרחית) 1913, מוזיאון רוז לאמנות, אוניברסיטת ברנדייס, וולטהאם, מסצ'וסטס.
"עבודתי מגלמת חזיונות קטנים של הבלתי מוחשי הגדול. ... יש שיגידו שהוא השתגע – אחרים יסתכלו ויגידו שהוא הסתכל פנימה על הסורגים של גן עדן ויחזור עם הטירוף של הפאר עליו." – מרסדן הארטלי

תובנות שוק

  • Hartley40169_market

  • מחיר השיא של ציור של מרסדן הארטלי במכירה פומבית נקבע במאי 2019 כאשר "Abstraction" (1912-1913) (מוצג משמאל) נמכר ביותר מ-6.74 מיליון דולר

  • הציור הזה נמכר במכירה פומבית כמעט 10 שנים קודם לכן (נובמבר 2000) תמורת 2.2 מיליון דולר, עלייה בשווי של 205.77%

  • מתוך 5 רשומות המכירה הפומבית המובילות עבור הארטלי, 4 הן מתקופה מוקדמת מעצבת זו לפני 1920

לברר

תוצאות מובילות במכירה פומבית

"הפשטה" (1912-1913), שמן על בד, 46.5 x 39.8 ב. (118.1 x 101 ס"מ). נמכר בכריסטי'ס ניו יורק: 22 במאי 2019 תמורת 6,744,500 דולר.
"הפשטה" (1912-1913), שמן על בד, 46.5 x 39.8 ב. (118.1 x 101 ס"מ). נמכר בכריסטי'ס ניו יורק: 22 במאי 2019 תמורת 6,744,500 דולר.
"מגדלור" (1915), שמן על בד, 40 x 32 ב. (101.6 x 81.3 ס"מ). נמכר בכריסטי'ס ניו יורק: 21 במאי 2008 תמורת 6,313,000 דולר.
"מגדלור" (1915), שמן על בד, 40 x 32 ב. (101.6 x 81.3 ס"מ). נמכר בכריסטי'ס ניו יורק: 21 במאי 2008 תמורת 6,313,000 דולר.
"ללא כותרת (טבע דומם)" (1919), שמן על הסיפון, 32 x 25.7 in. (81.3 x 65.4 ס"מ). נמכר בסותבי'ס ניו יורק: 1 בדצמבר 2011 תמורת 3,218,500 דולר.
"ללא כותרת (טבע דומם)" (1919), שמן על הסיפון, 32 x 25.7 in. (81.3 x 65.4 ס"מ). נמכר בסותבי'ס ניו יורק: 1 בדצמבר 2011 תמורת 3,218,500 דולר.
"ציור מס' 6" (1913-1913), שמן על בד, 40x30 אינץ' (101.6 x 76.2 ס"מ). נמכר בסותבי'ס ניו יורק: 22 במאי 2002 תמורת 2,759,500 דולר.
"ציור מס' 6" (1913-1913), שמן על בד, 40x30 אינץ' (101.6 x 76.2 ס"מ). נמכר בסותבי'ס ניו יורק: 22 במאי 2002 תמורת 2,759,500 דולר.
"קמדן הילס מהבייקרס איילנד" (1938), שמן על הסיפון, 22 x 28 ב. (55.9 x 71.1 ס"מ). נמכר בכריסטי'ס ניו יורק: 19 בנובמבר 2015 תמורת 2,741,000 דולר.
"קמדן הילס מהבייקרס איילנד" (1938), שמן על הסיפון, 22 x 28 ב. (55.9 x 71.1 ס"מ). נמכר בכריסטי'ס ניו יורק: 19 בנובמבר 2015 תמורת 2,741,000 דולר.

ציורים דומים שנמכרו במכירה פומבית

"הפשטה" (1912-1913), שמן על בד, 46.5 x 39.8 ב. (118.1 x 101 ס"מ). נמכר בכריסטי'ס ניו יורק: 22 במאי 2019 תמורת 6,744,500 דולר.
"הפשטה" (1912-1913), שמן על בד, 46.5 x 39.8 ב. (118.1 x 101 ס"מ). נמכר בכריסטי'ס ניו יורק: 22 במאי 2019 תמורת 6,744,500 דולר.

  • דוגמה גדולה יותר מאותה תקופה

  • קומפוזיציה מופשטת דומה

  • קבע את מחיר השיא עבור הארטלי במכירה פומבית בשנת 2019

"ציור מס' 6" (1913-1913), שמן על בד, 40x30 אינץ' (101.6 x 76.2 ס"מ). נמכר בסותבי'ס ניו יורק: 22 במאי 2002 תמורת 2,759,500 דולר.
"ציור מס' 6" (1913-1913), שמן על בד, 40x30 אינץ' (101.6 x 76.2 ס"מ). נמכר בסותבי'ס ניו יורק: 22 במאי 2002 תמורת 2,759,500 דולר.

  • דוגמה גדולה יותר מאותה תקופה

  • הרכב דומה של צורות מופשטות מוערמות

  • נמכר ביותר מ-2.7 מיליון דולר במכירה פומבית לפני 20 שנה

"אנטיב, לה פורט" (1888), שמן על בד, 23.6 x 31.9 אינץ'. נמכר בסותבי'ס ניו יורק: נובמבר 2011 עבור $9,266,500
"אנטיב, לה פורט" (1888), שמן על בד, 23.6 x 31.9 אינץ'. נמכר בסותבי'ס ניו יורק: נובמבר 2011 עבור $9,266,500

  • אותו גודל ונקודה

  • נמכר ביותר מ-1.87 מיליון דולר לפני יותר מ-10 שנים

"סדרת ברלין, מס' 1" (1913 ל-1913), שמן על משטח בד, 18x15 אינץ' (45.7 x 38.1 ס"מ). נמכר בסותבי'ס ניו יורק: 19 במאי 2010 תמורת 1,762,500 דולר.
"סדרת ברלין, מס' 1" (1913 ל-1913), שמן על משטח בד, 18x15 אינץ' (45.7 x 38.1 ס"מ). נמכר בסותבי'ס ניו יורק: 19 במאי 2010 תמורת 1,762,500 דולר.

  • דוגמה קטנה יותר מאותה תקופה

  • מדיום דומה, אם כי פלטה כהה יותר

  • נמכר ביותר מ-1.76 דולר לפני כמעט 12 שנה

ציורים באוספי מוזיאונים

"נושא מוסיקלי מס ' 2 (באך פרלודים ופוגות)" (1912), שמן על בד רכוב על הבונים החופשיים, 24 x 20 אינץ '(61 x 50.8 ס"מ), המוזיאון הלאומי תיסן-בורנמיסה, מדריד.
"נושא מוסיקלי מס ' 2 (באך פרלודים ופוגות)" (1912), שמן על בד רכוב על הבונים החופשיים, 24 x 20 אינץ '(61 x 50.8 ס"מ), המוזיאון הלאומי תיסן-בורנמיסה, מדריד.
"תנועות" (1913), שמן על בד, 47 x 46 7/8 אינץ '(119.5 x 119 ס"מ), המכון לאמנות של שיקגו.
"תנועות" (1913), שמן על בד, 47 x 46 7/8 אינץ '(119.5 x 119 ס"מ), המכון לאמנות של שיקגו.
"דיוקן של קצין גרמני" (1914), שמן על בד, 68 1/4 × 41 3/8 אינץ '(173.4 × 105.1 ס"מ), מוזיאון המטרופוליטן לאמנות, ניו יורק.
"דיוקן של קצין גרמני" (1914), שמן על בד, 68 1/4 × 41 3/8 אינץ '(173.4 × 105.1 ס"מ), מוזיאון המטרופוליטן לאמנות, ניו יורק.
"תנועה, ברמודה" (1916), שמן על לוח הבונה, 16 1/8 x 11 7/8 אינץ '(41 x 30.2 ס"מ), קרן בארנס, פילדלפיה.
"תנועה, ברמודה" (1916), שמן על לוח הבונה, 16 1/8 x 11 7/8 אינץ '(41 x 30.2 ס"מ), קרן בארנס, פילדלפיה.
"תגובה, כדי להיות נעים, חייב להיות פשוט." – מרסדן הארטלי

גלריית תמונות

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משאבים נוספים

ראו את דייוויד הוקני, דנה שץ, דיוויד סאל ועוד דנים בצייר המודרני הגדול הראשון באמריקה ב"7 אמנים על חייו ועבודתו של מרסדן הארטלי" של ערוץ לואיזיאנה.
ראו את דייוויד הוקני, דנה שץ, דיוויד סאל ועוד דנים בצייר המודרני הגדול הראשון באמריקה ב"7 אמנים על חייו ועבודתו של מרסדן הארטלי" של ערוץ לואיזיאנה.
קרא על התערוכה 2014 ב Neue Nationalgalerie בברלין, "מרסדן הארטלי: הציורים הגרמניים, 1913-1915" בסקירה זו בסקירה של הניו יורק טיימס.
קרא על התערוכה 2014 ב Neue Nationalgalerie בברלין, "מרסדן הארטלי: הציורים הגרמניים, 1913-1915" בסקירה זו בסקירה של הניו יורק טיימס.
בקרו ב"תנועה, ברמודה" בקרן בארנס בסרטון זה על יצירותיו המופשטות של הארטלי מ"הקיץ הגדול בפרובינסטאון".
בקרו ב"תנועה, ברמודה" בקרן בארנס בסרטון זה על יצירותיו המופשטות של הארטלי מ"הקיץ הגדול בפרובינסטאון".

לברר

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