January 4, 1877– Marsden Hartley:
“I want to paint the livingness of appearances.”
He is one of my favorite artists from one of my favorite periods. Plus, Mardsen Hartley is one of the greatest and most intriguing figures in the art world.
He was born in Lewiston, Maine in 1877. As a teenager, Hartley moved to Cleveland to study Art, already seasoned by solitude and a sense that he was gay. He had survived a childhood of Dickensian proportions: The early death of his mother, an abandonment by his father, and a life of poverty that forced him to leave school at 15-years-old and go to work in a shoe factory. Hartley:
“My childhood was vast with terror and surprise.”
In true Dickensian fashion, Hartley was rescued as a young adult by sponsors attracted to his obvious talent and charisma. He enjoyed summer retreats in Maine, where he began a lifelong interest in literature and philosophical thought, including works by: Ralph Waldo Emerson, Henry David Thoreau, Henry James, and the mother of us all, Walt Whitman. Those patrons paid for him to study at the National Academy Of Design in Manhattan. For several years, he studied in NYC and painted in Maine, where depicting landscapes was his first and last great subject. In 1909, he met famed photographer and Modern Art aficionado Alfred Stieglitz, who immediately gave him an exhibition at Stieglitz’ Gallery 291 and made him a prominent member of the special circle of American Modern Artists.
Hartley moved to Paris in 1912. He fell in love with the hues and physicality of oil paint and he absorbed the feelings and techniques of the Impressionists, Post-Impressionists and early Cubists. Hartley loved Europe and he joined Gertrude Stein’s circle of the young modern painters. He also understood that Pablo Picasso was the best of the best. Indeed, he became one of the first American artists to paint in the modernist style of Picasso, Paul Klee and Wassily Kandinsky.
He also met two officers in the German Army: Arnold Rönnebeck, who was a sculptor, and Karl von Freyburg, Rönnebeck’s tall, blond cousin. They boys invited him to visit Berlin, which in pre-WW II had a thriving gay scene, despite laws against homosexuality. There was also a near constant parade of handsome German Army officers in Berlin, which Hartley loved. Berlin became his spiritual home away from home. Von Freyburg and Hartley fell in love, but tragically, von Freyburg was killed in battle in 1914. Grief stricken, Hartley created some of his greatest paintings to memorialize their love.
He returned to NYC in 1915, and in late 1916, he took a house in Provincetown with artist Charles Demuth. Demuth was one of the earliest American painters to show a gay identity through explicit, yet positive depictions of desire between men. Demuth also knew his way around NYC’s gay scene, where Hartley was introduced to the sassy lesbian writer Djuna Barnes.
He received a Guggenheim Fellowship during The Great Depression which allowed him to live in Mexico in 1932, where he began a romance with gay poet Hart Crane, who was also there because of a Guggenheim grant. On a return voyage to the USA, Crane was severely beaten after making a pass at a male crew member. Humiliated and despondent, Crane jumped overboard in the Gulf Of Mexico. Hartley painted 8 Bells Folly (1933), as a tribute to Crane.
He found work in NYC as part of FDR’s Workers Progress Administration (WPA) and their Public Works Of Art Project. He became friendly with the family of Francis Mason of Nova Scotia and he lived with them in a small Canadian fishing community, finally finding some happiness and inspiration in their company. But, tragedy managed to find Hartley again; two handsome, strapping sons of the Mason family were killed at sea. Deeply saddened, Hartley stayed with the Masons through that winter, but then never returned.
Hartley went back to Maine in 1937, after declaring that he wanted to become “The Painter Of Maine”, specializing in depicting New England life at a local level. His work was part of one of many Regionalism movements at the time, groups of artists who represented distinctly American Art from different geographic points in the USA. He continued to do paintings of Maine, primarily deeply expressive scenes of life around the port towns and the fishermen who made their living there, combining thick brushstrokes and vibrant colors. He kept painting, putting down his brushes for good in 1943, taken by a heart attack at 66-years-old.
Flaming American (Swim-Champ), 1939
During his lifetime, Hartley received little recognition for his art and never made much money from his work. He never had a longtime romantic partner, and never really had any family. The young German soldier that he loved was killed in a war, and the virile, attractive and masculine sons of the fishing family he stayed with in Nova Scotia tragically drowned. It seems rather appropriate that Hartley created his most powerfully expressive works during his many bouts of depression spent alone in remote locations.
His portraits of swimmers and wrestlers that he painted in Maine in the late 1930’s are among the most powerfully sensual images of men I have ever seen. It could not have been easy to face the difficulties of being a gay artist in his era.
Hartley did seem to have an inkling that his art would live on. He wrote this near the end of his life:
“I am not a ‘book of the month’ artist, and I do not paint pretty pictures; but when I am no longer here my name will register forever in the history of American Art.”
Hartley was an artist with a great love of great paintings who wanted to make his own and have them be viewed as great. A decade ago, Hartley’s colorful painting Lighthouse sold for $6.2 million at Christie’s.
No. 47, Berlin, 1914-1915 (Hirshhorn Museum).
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