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...attempt has been made to set pre-Abstract Expressionist painting before an English public. But American art in the 1920s is defined too narrowly, as being "about" cities, industry and visions (ironic or not) of progress based on technology. Its mystico-romantic landscape imagery gets edited out. See Marsden Hartley through his heraldic Cubist-based paintings of 1913-14, such as Portrait of a German Officer, that moving, coded valentine of homosexual love, but omit his later, grandly somber images of the Maine coast. Have Georgia O'Keeffe's skyscrapers, not her flowers. And, amazingly enough, leave out John Marin...

Author: /time Magazine | Title: Art: The View From Piccadilly | 10/4/1993 | See Source »

Aspects of the work of older American artists recur in Porter's work: Marsden Hartley's love of bony mass, Edward Hopper's treatment of light. But there were very great differences. Porter was a more nuanced and daring colorist than Hartley; his world is more lyric than Hopper's, and on the whole untouched by melancholy. It is also more generalized in treatment. In a large painting like Island Farmhouse, 1969, the white weatherboard asserts itself in a blast of light like a Doric temple; the lines of shadow are a burning visionary yellow; everything, from the angular...

Author: /time Magazine | Title: Art: Fairfield Porter: Yankee Against the Grain | 7/12/1993 | See Source »

...both fundraising official Shirley J. Hartley and Director of Development Carol W. Taylor of the Carroll School for the Blind in Newton--the only blind school in either Newton and Needham--said they have no record of any William Walsh of Cambridge as a donor...

Author: By Melissa Lee, CRIMSON STAFF WRITER | Title: Walsh Donations Unverified | 12/9/1992 | See Source »

...emerge from hell into the Zen state of suspended agitation that Hal Hartley calls Long Island (though Simple Men was actually filmed in Texas). In the writer-director's third feature, following The Unbelievable Truth and Trust, a handsome bank robber (Robert Burke) and his decent younger brother (William Sage) search for their father, "the radical shortstop," who played for the Dodgers in the '50s and reputedly bombed the Pentagon in the '60s. Fugitive and busted on Long Island, the brothers fall in with the Hartley stock company of cagey women and forlorn men. To their deadpan surprise, the brothers...

Author: /time Magazine | Title: Adding Kick To the Chic | 11/16/1992 | See Source »

Makes sense to anybody who's gone to the 'plex lately. Or maybe Hartley is kidding. It's hard to tell with the smartest, orneriest new outlaw in the movies...

Author: /time Magazine | Title: Adding Kick To the Chic | 11/16/1992 | See Source »

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