
Marsden Hartley was an influential American Modernist painter, poet, and essayist known for his vibrant and expressive works that captured the essence of American landscapes and culture. Born in Maine, Hartley honed his artistic skills while living in Europe, where he was deeply inspired by the Cubist movement and the avant-garde artists of Paris and Berlin. His exposure to these artistic innovations profoundly shaped his style, leading to a unique blend of abstraction and representation in his paintings. Notable works such as 'The Warriors' and 'Portrait of a German Officer' exemplify his ability to convey emotional depth and personal narrative through bold colors and dynamic forms. Hartley's contributions extend beyond painting; he was also a prolific writer whose poetry and essays reflected his artistic philosophy and personal experiences. His work often explored themes of identity, nature, and the human condition, marking him as a significant figure in American Modernism. Hartley's legacy is characterized by his role in bridging European avant-garde movements with American art, influencing generations of artists who followed. His distinctive approach to color and form continues to resonate in contemporary art discussions, solidifying his place in the canon of American art history.
“Fishmonger I have taken scales from off The cheeks of the moon. I have made fins from bluejays’ wings, I have made eyes from damsons in the shadow. I have taken flushes from the peachlips in the sun. From all these I have made a fish of heaven for you, Set it swimming on a young October sky. I sit on the bank of the stream and watch The grasses in amazement As they turn to ashy gold. Are the fishes from the rainbow Still beautiful to you, For whom they are made, For whom I have set them, Swimming?”
“What have we all, we who have nothing left but longing to be free of our lashed satiety.”
“The sense of form in New Mexico is for me one of the profoundest, most original, and most beautiful I have personally experienced. It must be 'learned.' . . . It is not a country of light on things. It is a country of things in light.”
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