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Marsden Hartley: The Earth Is All I Know of Wonder
Edited by Lærke Rydal Jørgensen, Mathias Ussing Seeberg. Foreword by Poul Erik Tøjner. Text by Mathias Ussing Seeberg, Randall R. Griffey, Jonathan D. Katz, Edyta Frelik, et al.
A concise survey of Marsden Hartley's daring innovations in American painting, with reflections on his work by contemporary artists
A defining protagonist in American modernism, the painter and writer Marsden Hartley (1877–1943) was known for the vivid, sharply contrasted colors and abstract geometry in his modernist depictions of mountainous landscapes and abstracted portraits featuring German military imagery.
Though he moved several times across the United States and briefly lived abroad in Europe, attending Gertrude Stein's salons and drawing inspiration from the German Expressionists, Hartley always maintained a special appreciation for the natural world and eventually returned to his childhood home of Maine to paint local New England scenes. Along with a selection of Hartley's paintings, this book provides several reflections on the lasting influence of Hartley's work written by world-renowned contemporary painters, including David Hockney, Dana Schutz, Shara Hughes, David Salle and Alex Katz.
Featured image is reproduced from 'Marsden Hartley: The Earth Is All I Know of Wonder.'
PRAISE AND REVIEWS
The market for the artist's work, once confined to the US, has become much more widespread.
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FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 1/8/2020
"Canuck Yankee Lumberjack at Old Orchard Beach, Maine" (1940–41) is reproduced from Marsden Hartley: The Earth Is All I Know of Wonder, a surprise staff favorite on our Spring list. Beautifully designed and printed, there's something perfect about it—including a series of commentaries by contemporary painters including Alex Katz, Shara Hughes, Karin Mamma Andersson, David Hockney and Dana Schutz, who writes, "I have a special affinity for Marsden Hartley's paintings of really brawny men in these oddly disjunctive spaces, which he painted in his final years. The men are huge and almost carved out, but at the same time you feel a real tenderness in the way thy are painted, in how the light settles on their bodies. They are incredible, beautiful and strange paintings… Hartley's subjects could seem everyday, but nothing about them feels everyday. Maybe there is something about desire for the subject, or a sense of feeling toward it. His paintings have an immense sculptural quality to them. I have always loved how each brushstroke has its own weight and direction, and begins to build up the subjects. Waves become rocks, clouds are suspended like mammoth dinner plates, and trees resemble dried paintbrushes. Everything is tectonic, object-y and potent." continue to blog
LOUISIANA MUSEUM OF MODERN ART
USD $35.00 | CAN $39.95 UK £ 30
Pub Date: 1/21/2020
Active | In stock