Word: marsden
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Dates: during 1950-1959
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...work, describing her as "a 'natural'; she puts things down on canvas with unhesitating directness, as if reality guided her brush. But her realism is never merely photographic. Sometimes her patterns take on an expressionistic freedom, with pronounced rhythms, suggesting Van Gogh-or, nearer home, Marsden Hartley. But such parallels, probably coincidental, do not affect the authentic originality...
...Night to John Hult-berg's Yellow Sky (TIME, May 2, 1955), and including Childe Hassam, George Bellows and Edward Hopper. Across the hall was a first-rate collection made up of nothing but onetime nonwinners: Albert Pinkham Ryder, Mary Cassatt, Winslow Homer, Thomas Eakins, John Sloan, Marsden Hartley and John Marin. Said Corcoran Director Williams: "We know from the statistics of previous shows that only three or four of the exhibitors will be names to conjure with in the year 2007. Which ones are they...
...eldest son of Patriot-Painter Charles Wilson Peale (TIME, July 4, 1955), borrowed the glowing technique developed by the Dutch masters. His ready-for-eating apple, raisins and sugar-coated cake, by their closely observed rendering bring a glow of appreciation and recognition. Maine's late great eccentric, Marsden Hartley (1878-1943), with Flowers from Claire Spencer's Garden in a white crockery pitcher testified to his love for Maine more intimately and no less glowingly than with the blunt, powerful landscapes he did of Mt. Katahdin...
...Marsden Hartley (1877-1943) liked to call himself "the painter from Maine." But he traveled considerably in Europe, appraised its art with a shrewd Yankee eye. Hartley was the first American to grasp the power of German expressionism, immediately adapted the experiments of Wassily Kandinsky and Franz Marc to his own ends. His German Officer (opposite) is as tumultuous as anything painted before World War II, though not so bold as today's abstract expressionism...
...trouble was not in such modern old masters as Max Weber, the late Lyonel Feininger (see MILESTONES) and Marsden Hartley, who to British eyes were only American reflections of European trends. And in Edward Hopper's lonely city scenes and George Bellows' Dempsey and Firpo, the Sunday Times found "the real rude stuff of native American art." The pained cries of angry outrage were provoked by the abstract expressionists...