Lot Essay
Marsden Hartley (1877-1943) was virtually unknown as a painter when he was introduced to Alfred Stielglitz in the spring of 1909. Hartley, unaware of the existence of '291' at the time, was destitute. Although years later he refuted the circumstances in which he courted Stieglitz for a show, claiming that the propreitor had pursued him, it was indeed Stieglitz' sympathy for the poor New Englander's plight that first engaged him. In 1923 Stieglitz wrote the painter: You were given your original Show in '291' because of my reading Suffering - Spiritual anguish - in your face and because I felt a supreme worthwhile struggle of a Soul. (Marsden Hartley, p. 59) Hartley's first exhibition at '291' came soon after the first encounter in May 1909.
Hartley's desire to study art in Europe came to fruition primarily due to Stieglitz' encouragement and support. Aided by benefactors organized by Stieglitz (including Aline Liebman's sister-in-law, Agnes Meyer, who purchased an oil by the artist) Hartley was able to sail for Paris in April 1912. After meeting Gertrude Stein and other members of the Parisian art scene of the time, Hartley went on to Germany where he painted what would become his first signature works. It was the pomp and precision of the pre-war German state that triggered his imagination and he felt at home there. Forced by continually poor financial prospects however, he returned to New York for a brief visit to help organize the next exhibition of his work at '291'. He stayed but a few months, yearning all the time to return to Germany. With the onset of war, strained resources and relationships, (Stieglitz grew increasingly frustrated with the painter's inability to stabilize himself financially) he left Berlin for the duration of World War I, unable to return until 1921. His life in New York promised some relief however, as he had two exhibitions to face in the spring of 1916, the Forum Exhibition in March and at '291' in April. The portrait offered here was most likely made at the time of the '291' exhibition.
Stieglitz' correspondence with the Liebmans frequently mentions Hartley, making note of the painter's progress and financial situation. In one letter, in response to what must have been a donation by the Liebmans, he does not mention Hartley by name but refers to the plight of '291' and its artists: The money you have sent is already at work - helping some who need help badly. Men - artists who are sick or very needy. Walkowitz has never been ill. Even he has been striken down. Illness and misery seem on the increase. Everywhere. So you see the help & acceptance have come at the psychological moment. At 291 things seem to work out that way. In the name of the many whose sufferings will be alleviated through your generosity & kindness of heart I thank you. You may rest assured every penny will be spent to the greatest possible advantage.
Prints of this image are in the collections of the Art Institute of Chicago; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; Museum of Modern Art; Philadelphia Museum of Art; Beinecke Rare Book Library and the Metropolitan Museum of Art. The Metropolitan's is a silver print, donated by Hartley in 1938.
Hartley's desire to study art in Europe came to fruition primarily due to Stieglitz' encouragement and support. Aided by benefactors organized by Stieglitz (including Aline Liebman's sister-in-law, Agnes Meyer, who purchased an oil by the artist) Hartley was able to sail for Paris in April 1912. After meeting Gertrude Stein and other members of the Parisian art scene of the time, Hartley went on to Germany where he painted what would become his first signature works. It was the pomp and precision of the pre-war German state that triggered his imagination and he felt at home there. Forced by continually poor financial prospects however, he returned to New York for a brief visit to help organize the next exhibition of his work at '291'. He stayed but a few months, yearning all the time to return to Germany. With the onset of war, strained resources and relationships, (Stieglitz grew increasingly frustrated with the painter's inability to stabilize himself financially) he left Berlin for the duration of World War I, unable to return until 1921. His life in New York promised some relief however, as he had two exhibitions to face in the spring of 1916, the Forum Exhibition in March and at '291' in April. The portrait offered here was most likely made at the time of the '291' exhibition.
Stieglitz' correspondence with the Liebmans frequently mentions Hartley, making note of the painter's progress and financial situation. In one letter, in response to what must have been a donation by the Liebmans, he does not mention Hartley by name but refers to the plight of '291' and its artists: The money you have sent is already at work - helping some who need help badly. Men - artists who are sick or very needy. Walkowitz has never been ill. Even he has been striken down. Illness and misery seem on the increase. Everywhere. So you see the help & acceptance have come at the psychological moment. At 291 things seem to work out that way. In the name of the many whose sufferings will be alleviated through your generosity & kindness of heart I thank you. You may rest assured every penny will be spent to the greatest possible advantage.
Prints of this image are in the collections of the Art Institute of Chicago; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; Museum of Modern Art; Philadelphia Museum of Art; Beinecke Rare Book Library and the Metropolitan Museum of Art. The Metropolitan's is a silver print, donated by Hartley in 1938.