Hartley, Marsden. (1877–1943). Two Autograph Letters. Two important autograph letters from the pioneering and influential American painter who takes a place among the leading figures of early-20th-century modernism. Two ALSs signed "Marsden Hartley" and "Marsden H.," totaling five pages, 8.5 x 11, no dates (but with one envelope included, postmarked April 21, 1911). Two handwritten letters to Ann Traubel, a close friend and the wife of intellectual companion Horace Traubel. In the longer letter, he discusses his loneliness, the nature surrounding him, and his painting. In part: "I sit writing you after having started a picture…The hermit life which I live—curiously unlike me, does not bring me all the happiness it should—I like the feel of others (congenial) like myself around somewhere—The trees & the birds & the running waters—the fishes lying still in the bed of the brook—I watched them as I stood rinsing my clothes in the running water…I have painted a picture—I have attended to the needs of my body…The heart needs that which is closer akin to it and so I am feeling the loneliness in the presence of these beautiful unhuman things—There is too much peace, there is too much indifference, too much of supremacy of mighty things—things that know not what it is to be human—that are conscious only of the great energy in them over which they have no direction—There is health in the presence of them but there is not peace with the loneliness among them…I desire only a human hand to touch, a big broad shoulder to brush by—a wondrous deep souled eye to look into—a smile to be conscious of upon a face somewhere near…I've been planting my garden too this morning previous to painting—planting wax beans—having already sowed early peas—beets—lettuce, romaine and in between them patches of zinnias—marigolds, straw-flowers & poppies."
The second letter, in part: "I am sending you with these the extra plate out of the El Greco book which we got together. I think you will be glad to have it and I am as glad to give it to you. I have but lately arrived at the office after leaving your house—I reach here feeling so well & happy—you are health and joy to the tired body and pace to the soul—one grows and blooms in the presence of you—one feels like something big & beautiful when you are around." In fine condition, with edge splits to intersecting folds. Accompanied by the original mailing envelope for the longer letter.
Hartley was a member of the "Stieglitz Group," under the patronage of the famed gallerist and early champion of modern art in America, Alfred Stieglitz (1864-1946) who arranged the artist's first solo exhibition in 1909 at his 291 gallery in New York. This was a major turning point in Hartley's career; through Stieglitz he met and became influenced by other emerging artists such as Charles Demuth (1883-1935), Arthur Dove (1880-1946), John Marin (1870-1953) and Georgia O'Keeffe (1887-1986).
Growing up in Maine and Cleveland, Hartley showed promise as a young artist and was funded by an art patron to study in New York in 1899. He studied with William Merritt Chase (1849-1916) at his New York School and at the National Academy of Design. But it was not until he gained the support of Stieglitz and the artist Arthur B. Davies (1862-1928), a senior member of the Stieglitz circle, that he was able to travel to Paris. In France, Hartley closely studied the Post-Impressionist and Cubist masterpieces and experimented in these styles. From Paris, he traveled through Europe and arrived in Berlin. Adopting a bold new style, Hartley exhibited with the avant-garde Der Blaue Reiter group in 1913. He revisited Berlin in 1914, producing his most iconic works of the War Motif series, following the death of his purported romantic partner, a German World War I soldier named Karl von Freyburg. These paintings are comprised of bold, sweeping colors, German insignia and undulating flattened shapes.
Ingenious and innovative, Hartley drew from the two-dimensionality of the Cubists and the spiritualism, raw emotion and subjectivity of the Expressionists. Hartley traveled around the world throughout his career, often deeply embedding himself in his surroundings. His works slowly became less abstract as his career advanced.
The second letter, in part: "I am sending you with these the extra plate out of the El Greco book which we got together. I think you will be glad to have it and I am as glad to give it to you. I have but lately arrived at the office after leaving your house—I reach here feeling so well & happy—you are health and joy to the tired body and pace to the soul—one grows and blooms in the presence of you—one feels like something big & beautiful when you are around." In fine condition, with edge splits to intersecting folds. Accompanied by the original mailing envelope for the longer letter.
Hartley was a member of the "Stieglitz Group," under the patronage of the famed gallerist and early champion of modern art in America, Alfred Stieglitz (1864-1946) who arranged the artist's first solo exhibition in 1909 at his 291 gallery in New York. This was a major turning point in Hartley's career; through Stieglitz he met and became influenced by other emerging artists such as Charles Demuth (1883-1935), Arthur Dove (1880-1946), John Marin (1870-1953) and Georgia O'Keeffe (1887-1986).
Growing up in Maine and Cleveland, Hartley showed promise as a young artist and was funded by an art patron to study in New York in 1899. He studied with William Merritt Chase (1849-1916) at his New York School and at the National Academy of Design. But it was not until he gained the support of Stieglitz and the artist Arthur B. Davies (1862-1928), a senior member of the Stieglitz circle, that he was able to travel to Paris. In France, Hartley closely studied the Post-Impressionist and Cubist masterpieces and experimented in these styles. From Paris, he traveled through Europe and arrived in Berlin. Adopting a bold new style, Hartley exhibited with the avant-garde Der Blaue Reiter group in 1913. He revisited Berlin in 1914, producing his most iconic works of the War Motif series, following the death of his purported romantic partner, a German World War I soldier named Karl von Freyburg. These paintings are comprised of bold, sweeping colors, German insignia and undulating flattened shapes.
Ingenious and innovative, Hartley drew from the two-dimensionality of the Cubists and the spiritualism, raw emotion and subjectivity of the Expressionists. Hartley traveled around the world throughout his career, often deeply embedding himself in his surroundings. His works slowly became less abstract as his career advanced.
Hartley, Marsden. (1877–1943). Two Autograph Letters. Two important autograph letters from the pioneering and influential American painter who takes a place among the leading figures of early-20th-century modernism. Two ALSs signed "Marsden Hartley" and "Marsden H.," totaling five pages, 8.5 x 11, no dates (but with one envelope included, postmarked April 21, 1911). Two handwritten letters to Ann Traubel, a close friend and the wife of intellectual companion Horace Traubel. In the longer letter, he discusses his loneliness, the nature surrounding him, and his painting. In part: "I sit writing you after having started a picture…The hermit life which I live—curiously unlike me, does not bring me all the happiness it should—I like the feel of others (congenial) like myself around somewhere—The trees & the birds & the running waters—the fishes lying still in the bed of the brook—I watched them as I stood rinsing my clothes in the running water…I have painted a picture—I have attended to the needs of my body…The heart needs that which is closer akin to it and so I am feeling the loneliness in the presence of these beautiful unhuman things—There is too much peace, there is too much indifference, too much of supremacy of mighty things—things that know not what it is to be human—that are conscious only of the great energy in them over which they have no direction—There is health in the presence of them but there is not peace with the loneliness among them…I desire only a human hand to touch, a big broad shoulder to brush by—a wondrous deep souled eye to look into—a smile to be conscious of upon a face somewhere near…I've been planting my garden too this morning previous to painting—planting wax beans—having already sowed early peas—beets—lettuce, romaine and in between them patches of zinnias—marigolds, straw-flowers & poppies."
The second letter, in part: "I am sending you with these the extra plate out of the El Greco book which we got together. I think you will be glad to have it and I am as glad to give it to you. I have but lately arrived at the office after leaving your house—I reach here feeling so well & happy—you are health and joy to the tired body and pace to the soul—one grows and blooms in the presence of you—one feels like something big & beautiful when you are around." In fine condition, with edge splits to intersecting folds. Accompanied by the original mailing envelope for the longer letter.
Hartley was a member of the "Stieglitz Group," under the patronage of the famed gallerist and early champion of modern art in America, Alfred Stieglitz (1864-1946) who arranged the artist's first solo exhibition in 1909 at his 291 gallery in New York. This was a major turning point in Hartley's career; through Stieglitz he met and became influenced by other emerging artists such as Charles Demuth (1883-1935), Arthur Dove (1880-1946), John Marin (1870-1953) and Georgia O'Keeffe (1887-1986).
Growing up in Maine and Cleveland, Hartley showed promise as a young artist and was funded by an art patron to study in New York in 1899. He studied with William Merritt Chase (1849-1916) at his New York School and at the National Academy of Design. But it was not until he gained the support of Stieglitz and the artist Arthur B. Davies (1862-1928), a senior member of the Stieglitz circle, that he was able to travel to Paris. In France, Hartley closely studied the Post-Impressionist and Cubist masterpieces and experimented in these styles. From Paris, he traveled through Europe and arrived in Berlin. Adopting a bold new style, Hartley exhibited with the avant-garde Der Blaue Reiter group in 1913. He revisited Berlin in 1914, producing his most iconic works of the War Motif series, following the death of his purported romantic partner, a German World War I soldier named Karl von Freyburg. These paintings are comprised of bold, sweeping colors, German insignia and undulating flattened shapes.
Ingenious and innovative, Hartley drew from the two-dimensionality of the Cubists and the spiritualism, raw emotion and subjectivity of the Expressionists. Hartley traveled around the world throughout his career, often deeply embedding himself in his surroundings. His works slowly became less abstract as his career advanced.
The second letter, in part: "I am sending you with these the extra plate out of the El Greco book which we got together. I think you will be glad to have it and I am as glad to give it to you. I have but lately arrived at the office after leaving your house—I reach here feeling so well & happy—you are health and joy to the tired body and pace to the soul—one grows and blooms in the presence of you—one feels like something big & beautiful when you are around." In fine condition, with edge splits to intersecting folds. Accompanied by the original mailing envelope for the longer letter.
Hartley was a member of the "Stieglitz Group," under the patronage of the famed gallerist and early champion of modern art in America, Alfred Stieglitz (1864-1946) who arranged the artist's first solo exhibition in 1909 at his 291 gallery in New York. This was a major turning point in Hartley's career; through Stieglitz he met and became influenced by other emerging artists such as Charles Demuth (1883-1935), Arthur Dove (1880-1946), John Marin (1870-1953) and Georgia O'Keeffe (1887-1986).
Growing up in Maine and Cleveland, Hartley showed promise as a young artist and was funded by an art patron to study in New York in 1899. He studied with William Merritt Chase (1849-1916) at his New York School and at the National Academy of Design. But it was not until he gained the support of Stieglitz and the artist Arthur B. Davies (1862-1928), a senior member of the Stieglitz circle, that he was able to travel to Paris. In France, Hartley closely studied the Post-Impressionist and Cubist masterpieces and experimented in these styles. From Paris, he traveled through Europe and arrived in Berlin. Adopting a bold new style, Hartley exhibited with the avant-garde Der Blaue Reiter group in 1913. He revisited Berlin in 1914, producing his most iconic works of the War Motif series, following the death of his purported romantic partner, a German World War I soldier named Karl von Freyburg. These paintings are comprised of bold, sweeping colors, German insignia and undulating flattened shapes.
Ingenious and innovative, Hartley drew from the two-dimensionality of the Cubists and the spiritualism, raw emotion and subjectivity of the Expressionists. Hartley traveled around the world throughout his career, often deeply embedding himself in his surroundings. His works slowly became less abstract as his career advanced.