Word: marsden
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...mask of anguish in Marsden Hartley's The Lost Felice hides a different sort of grief. It is a symbol of womanhood mourning her drowned sons. The 20th century's passion for abstraction makes any representational figure seem accessibly human, but the grieving mother in Hartley's picture resembles a woman only in the way that an eerie echo resembles a voice. The intentional distortions of the 1939 picture ironically complete the cycle begun with the unintentional distortions of the 1670 picture. Perhaps fittingly, the decline of portraiture ends without a portrait...
There were two other withdrawals. A rather Hartleyesque still life, signed M. H., was blacklisted by a New York expert who knows Marsden Hartley. Then a bumbling Franz Kline was yanked because its owner could not be reached to defend...
ALFRED MAURER and MARSDEN HARTLEY-Babcock, 805 Madison Ave. at 68th. Both of these painters were American adventurers who traveled abroad and eventually returned to the U.S. Maurer became a recluse in his father's house and killed himself in 1932; Hartley wrote poetry and wished to be remembered as "the painter from Maine," where he was born and where, in 1943, he died. As these 22 still lifes show, both forged a highly personal style: Maurer a sensuous, solidly constructed cubism; Hartley a rough-hewn primitive expressionism. Through...
...abstract expressionism. He took up wax crayons to create richly colored tropical scenes: surrealist flowers as big as hybrid corn, rosy hieroglyphs of animal life. These symbolic works, some plainly eruptions from his subconscious, show how, in the 1920s and 1930s, his work grew close to that of Marsden Hartley and Arthur Dove in a search for a mystical reunion with natural form...
...state. From Gilbert Stuart and John Singleton Copley to John Singer Sargent and George Bellows, from Maurice Prendergast and Childe Hassam to Georgia O'Keeffe and Edward Hopper, from Winslow Homer to John Marin to Andrew Wyeth-artists have taken inspiration from its cruel coasts and rugged landscapes. Marsden Hartley lived there and found his own rough-hewn style admirably suited to it. He saw no refinement, only a primeval bluntness in Maine's rocks, mountains and shore lines. These he painted with a kind of primitive expressionism, for "nativeness is built of such primitive things...