Marsden Hartley (1877-1943)

Born Edmund Hartley on January 4, 1877 in Lewiston, ME, this artist, poet, rebel and most recognized Modernist in American art history may be the most "self-reinvented" artist of all time. At the age of eight his mother died and his father departed, leaving him to be raised by an older sister. At 16 years of age, he joined his father and his new stepmother, Martha (Marsden) Hartley and soon after began his formal art training. Later in life, he adopted his stepmother's maiden surname, Marsden, as his first name. This was just one of many interesting elements of his life.

Hartley's talent won him a five-year scholarship at New York's National Academy of Design, which he began in 1899 at the age of 22. Nearly 10 years later, his impressionist Maine scenes captured the attention of Alfred Stieglitz, the famous photographer who ran gallery 291, the most influential gallery for avant-garde art in the United States in the early 1900's. Hartley had his first solo exhibition at 291 in 1909, and this led to his long-standing affiliation with the Stieglitz circle of artists, writers and cultural critics.

Through the exhibitions organized by Stieglitz, Hartley got his first glimpse of European art - works by Paul Cézanne, Henri Matisse and August Rodin. These European masters influenced Hartley's paintings from 1909 to 1911, specifically the vibrant colors used in their works. At this same time, Hartley was also greatly influenced by the writings of Ralph Waldo Emerson, Henry David Thoreau and Walt Whitman - men who placed ultimate importance upon the individual's ability to have direct and powerful emotional experiences in nature. His work was the most radical visual expression of this fundamental 19th century view.

Hartley's bond with the landscape caused him to attempt to find a style that could convey the mood he felt in the Maine mountains. He changed to the vigorous brushwork of the impressionists to show his personal experience with the scenes. Hartley challenged himself to invent a completely original style that voiced his subjective feelings and insights. While some painters of the period found their style, others such as Hartley and Picasso shifted radically and often. This was their way of asserting themselves in the face of the changes in the world of politics and culture and everyday life.

Even though his friendship with Stieglitz was retained, Hartley shifted from place to place, living abroad several times and in various locations across the U.S. during the course of his life. He lived in Paris in 1912, painting a series of still lifes and developing a long-time friendship with writer Gertrude Stein. So much did the philosophical debates with Stein influence Hartley, that in 1913 he relocated to Berlin where he discovered an attitude supporting the primacy of the individual. He quickly made his way into the most progressive art circles, while practicing his style of abstraction and alternative lifestyle. The military presence of Berlin impressed Hartley, and bright colors, numbers, military insignia, and cavalry parades characterize his work of this time. Some critics believe that this is the finest work of his career.

When World War I came, it was time to redefine his art once again. The time was 1914 to 1915 and it is thought that Hartley had a dear friend, Karl von Freyburg, who was killed in battle. In tribute to Freyburg, Hartley began a series of paintings that honored war dead and in a guarded way expressed his life in Berlin's vibrant underground culture. They are often referred to as his War Motif or Military series. Again critics are torn, as these works are strong and considered by some to be the best he ever completed.

In 1915 Hartley once again came to New York and exhibited at gallery 291, but this time the reception was disappointing. The negative effect on Hartley was alleviated only when he moved to an artists' retreat in Taos, New Mexico. Here and through the next two decades in Maine, Hartley changed his style yet again. He adopted a more representational form, producing a number of landscapes and still lifes. By 1930, Hartley had come full circle in his approach to his work. Late in his career he immersed himself in the landscape and the common people of Maine, finally achieving the result he struggled for throughout his career--a balance of style and content with the emotional connection he felt so strongly.

For the remainder of his career and until his death in 1943, Hartley continued to struggle with the fundamental dilemma of his art: Was painting a human expression or a mental discipline, perhaps the intellectual solution to the woes of the world? He shared an emotional investment in the hope that it would stir the viewer, and in the process he practiced and offered a variety of styles and methods. Sadly, while he exhibited widely, commercial success in America did not come to Hartley until after his death.

New Deckle Edge Cards/Vellum from Strathmore

New Metallic Deckle Edge Cards and Vellum Overlays/Envelopes have arrived from Strathmore just in time for the holidays (and Strathmore's Greeting Card Contest--see "Art Competitions"). The white cards measure 5" x 6.875", come 12 to a pack, and are available with a gold or silver deckle. For an extra touch of class, enhance these with the new vellum overlay and enclose them in the new vellum envelopes. Also see Strathmore's Chromalux Sheets in red, Mother of Pearl, Silver and Gold for your festive holiday creations. www.strathmoreartist.com.

Drawing the Nude

Did you know the following? The human body is roughly seven times the height of its head; The face can be divided into thirds with the bottom of the nose resting on the top of the lower third and most ears set on a line level with the eyes; The arm span is the same as the height of the model; Most fingertips reach mid-thigh when relaxed along the standing body; The foot is the same length as the inside of the arm between wrist and the bend at the elbow. These simple facts might help when you start to capture the likeness of a model in your next drawing session.

Many artists begin study of the nude with gesture drawings. These are quickly drawn sketches that attempt to capture movement and proportion rather than representational correctness. They are designed to help you learn to "see" what the subject is telling about positions of limbs, shapes of body parts, connections of limbs on torso and general "construction" of the human form. Gesture drawings can be done in any medium. Markers are good because they move quickly over the paper and remove the temptation to correct or alter the initial sketch. In their purest form, gesture drawings are done in around 30 seconds. They are usually not finished works, although many are strikingly beautiful in both economy of detail and the emotional energy they convey.

The sketches are usually begun at the top of the head, without any specific facial detail, and then progress to the neck and shoulders, arms and torso, lower torso, legs and feet. When the subject is moving, the speed with which the sketches are completed can help you see the alignment of upper body to lower limbs, arm movements for balance and head movements with both. Use of gesture drawings to learn the planes of the body is also helpful. As the muscle areas encase the skeleton, using a multitude of lines that depict structure can create gesture drawings. Repeated linear tracing of the way muscles lie on the upper arm, for instance, can help you relate to the way light and muscle work to define a masculine form over the softness of the feminine.

Contour drawings are another exercise that will help you learn. These drawings are also done with less attention to detail than formal drawings. A contour drawing is done slowly, because the artist takes his/her time to visually trace the perimeter of a model, and this helps you see the relationship of proportion, size and placement.

Ideally, the drawing is done without looking at the paper. The drawing instrument is placed at a point, say the top of the head, and then the artist sees what his hand then draws, following the contour of the model from top, down the side, bottom, up the other side and then connecting to the top once more. Slow study is necessary to achieve the purpose of the exercise. When you can study an object, item, or a nude model, create a contour drawing without looking, and achieve a semi-correct image, you will have been successful. But whether or not the finished piece is recognizable, your goal is to learn to see what you are viewing, and every exercise will put you a step closer to capturing correct proportions.

Perspective is just as much a part of drawing a body as it is drawing a house, a receding road or fence line. What is closest to the viewer is largest, while what is the greatest distance away is smallest. A reclining nude could be thought of in the simplest of forms - as a series of spheres, rectangles, squares and other geometric planes. Just soften the edges and connect the parts and you have a body. Use perspective and foreshortening to decrease the shapes and sizes and add shadow detail. True enough, it is the connecting, shadowing and softening that make all the difference; and it takes some skill to get the planes correct to start with, but that is the fun of learning.

Every part of the human body is a study in itself--the hand, the foot, a muscular back, the head and face. But when combined to create a drawing of the human form, there are some steps that can speed the finished work. Learn to lay the body out in large general shapes. Do this with quick, light sketchy lines, remembering foreshortening and lengthening of some elements. Self-portrait work is the method used for centuries for learning to capture a likeness, so why not a full drawing of you? What better model (and no model fees, studio rental or commute are involved)!

A change in media can also afford the artist a rich experience. Try different tools in your exercises and see what results you can achieve.

Many books are available that offer great methods for learning the structure and composition of the human form. Visit your art materials retailer for a treasure trove of fine study material. Don't forget to also research the videotapes on drawing and painting the figure. Tapes are especially good because you can stop and restart any time you need to work longer on any aspect of the drawing.

Nov. 7-10 - 26th Annual Philadelphia Museum of Art Craft Show -- Pennsylvania Convention Center. This premier show and sale of contemporary craft will include 190 of the finest and most dynamic craft artists in the U.S., selected from more than 1,500 applicants. Info: 215.684.7930 or email twcpma@philamuseum.org.

Nov. 8-17 - Boulder Handweavers Guild 30th Annual Fiber Art Show and Sale -- The Gatehouse, Lafayette, CO. See the original works of over 300 members of the guild, including hand-woven garments and accessories, contemporary tapestries, handspun yarns and knitted sweaters, art quilts, rugs, paper and bead jewelry, baskets, and other incredible fiber artwork.

Nov. 15-17 - 15th Annual Washington Craft Show -- Washington Convention Center, DC -- This acclaimed juried show presents cutting edge work by 185 leading craft artists from across the U.S. and includes basketry, ceramics, fiber--decorative and wearable, furniture, glass, jewelry, leather, metal, mixed media, paper and wood. Info: 203.254.0486 or see www.craftsamericashows.com/washington.htm.

Nov. 21-24 - Vermont Hand Crafters Holiday Craft Show -- Sheraton Conference Center, South Burlington. Over 175 juried Vermont artisans will be on hand to sell their high quality handmade baskets, fabric appliqué pillows and quilts, lampshades, pottery, dolls, note cards, clothing and accessories, fine jewelry, furniture, photographs, and more. Info: 800.373.5429.

Nov. 29 Dec. 24 -- 2002 Joy of Christmas Craft Show -- Wards Mall/Contra Costa Center, Pleasant Hill, CA. The 33rd. Annual Festival will feature paintings, jewelry, metal sculpture, photography, handmade clocks, metal garden art, wood and clay sculpture, clothing, leather, pottery, stained glass, and more.

2002 Strathmore Greeting Card Contest -- Artists may enter two different categories: "Hand Decorated" includes any media, subject matter is at the artist's discretion, and entries must be submitted on any Strathmore greeting card; "Photography" must be original material taken by the artist submitting the entry, and digital photography is acceptable. Subject matter is at the artist's discretion, but the entry must be submitted on Strathmore Photo Mount or Photo Frame cards, which may include additional enhancements such as artwork, calligraphy or collage.

Entrants must be at least 18 years old. All entries will be judged on creativity, originality and use of technique. Prizes will be awarded in both categories: First Place: $1,000; Second Place: $500; Third Place: $250; and 10 Honorable Mentions: Strathmore product. See a participating retailer for an entry form or go to www.strathmoreartist.com. Deadline: December 31.

Journey's End First Annual National Art Exhibition -- This juried show is intended primarily to interpret the history of exploration of the American West. In honor of the Bicentennial of the Lewis and Clark Expedition, the inaugural show will focus on revisiting the epic journey of the Corps of Discovery. The exhibition will be held at the Columbia River Maritime Museum in Astoria, OR, from March 8-30. Work in 2- and 3-D form must be original and completed within the last two years. Cash awards will be given. See details/entry form at www.jsend.org or send SASE to Journey's End, P.O. Box 2005, Astoria, OR 97103. Deadline: Jan. 17.

16th Annual Juried International Exhibition on Animals in Art -- All media are eligible, there are cash awards, and one entry will be chosen to appear on the cover of the AVMA Journal. Send SASE to: Exhibition, Veterinary Medicine Library, Louisiana State U., Baton Rouge, LA 70803-8414; www.vetmed.lsu.edu/library/. Deadline: Jan. 25.

35th W&J National Painting Show -- All original permanent painting media are eligible, and there are cash and purchase awards. Send SASE to: W&J Nat'l. Painting Show, c/o Hugh Taylor, Olin Fine Arts Gallery, Washington and Jefferson College, Washington, PA 15301. Deadline: Jan. 28.

Airbrush Clubs

In Europe, the concept of airbrush clubs has existed for many years. Groups of airbrush enthusiasts have come together to exchange ideas and techniques, show their artwork, critique and participate in trade shows--all based on the common denominator of airbrush use, no matter what the application. In the U.S., however, art organizations and clubs are normally based on medium (such as watercolor, oil or acrylics) or aesthetics (such as realism, abstraction, etc.) Art movements in this country are usually unorganized associations of artists that have a common purpose, e.g., abstract expressionists at the Cedar Bar, minimalists, environmental artists of Soho and the West Coast, etc.

With the advent of the Internet and the ability to form e-communities by people who have the same interests, airbrush clubs are gaining popularity in the U.S. Such sites as www.airbrushtalk.com, www.airbrush.com, and www.westcoastairbrush.com have newsletters or chat rooms and bulletin boards in which the free exchange of ideas takes place.

Recently in Los Angeles, a group of Latino airbrush artists were brought together by the highly acclaimed airbrush painter Gerald Mendez to exhibit their work at a low rider custom automotive show. The works were a tremendous hit and their group, though not strictly Latino, is planning additional events on the West Coast.

At the Art Methods & Materials Show held in October in Pasadena, CA, the Iwata/Medea Airbrush booth became a focal point for airbrush artists from throughout the western states. Also at this show, the annual juried exhibit included a large complement of airbrush art.

In Beacon, NY, ARTtalk's own Gallery at the Square has focused on the exhibition of airbrush paintings, sculptures, and other objets d'art. And always at the Airbrush Action Getaways, which are held throughout the U.S., a community of artists gathers both for educational workshops and the common good of airbrushing. In addition, each year Airbrush Action magazine presents its Vargas Awards in recognition of those artists who have achieved renown through their work/contributions to the field.

So the word is out there: Airbrushers unite! Form clubs. Submit to shows. Join organizations. If you have an organization, wish to advertise an airbrush-related exhibit or will be represented at a trade show, www.airbrushtalk.com will provide a free listing on the "Airbrush Clubs, Shows and Events" page. Simply submit the info to arttalk3@aol.com and look for your listing at www.airbrushtalk.com/clubs.

New Museum Opens--The Museum of Glass: International Center for Contemporary Art has opened in Tacoma, WA, and is dedicated to the presentation of the medium of glass within the context of contemporary art in all media. Artists from around the world will be invited to work with the museum's resident team through the hot shop artist programs.

Renaissance Art/Snowmen Featured--The U.S. Postal Service Christmas stamp for 2002 features Jan Gossaert's "Madonna and Child" (circa 1520) from a collection at The Art Institute of Chicago. Richard Sheaff of Scottsdale, AZ, was designer and art director for the stamp. In addition, four Snowmen stamps, issued as part of the Holiday series, feature photographs of four whimsical snowmen figurines, designed by Derry Noyes of Washington, D.C., and photographed by Sally Andersen-Bruse of New Milford, CT.

Gifts for SFMOMA--The San Francisco Museum of Modern Art has received a gift of a series of eight paintings, each titled "Abstract Picture," by Gerhard Richter. These are included in the traveling show "Gerhard Richter: 40 Years of Painting," at the museum through Jan. 14.

Author Celebrated--A "life-sized vision" of literary icon Rip Van Winkle has been installed on Main Street in Irvington, NY, nearby the home of the late author Washington Irving. Sculptor Richard Masloski of New Windsor, NY, created the six-foot-long, 900-pound bronze statue at the Polich Art Works. Rip Van Winkle first appeared in Irving's "The Sketch Book" in 1819.

Tribute Paid--The Martin Beck Theater in Manhattan, NYC, will officially be renamed the Al Hirschfeld Theater on June 21, 2003, the 100th birthday of the artist/illustrator. Hirschfeld is renowned for his caricatures of American theater and film personalities.

Move Planned--The Barnes Foundation has filed legal papers requesting permission to move to a new downtown building. The relocation and proposed reorganization would contrast with the will of Dr. Albert C. Barnes, the millionaire who assembled this incredible collection. See www.barnesfoundation.org.

Prize Winners Announced--The Praemium Imperiale was established by the Japan Art Association in Tokyo in memory of His Imperial Highness Prince Takamatsu to celebrate the human spirit expressed through the genius of artists of the world. Among the five 2002 recipients are Sigmar Polke (Germany, Painting) and Giuliano Vangi (Italy, Sculpture). The 2002 Laureates each received an award of $125,000.

Exhibitions:

Brooklyn Museum of Art, NY -- Exposed: The Victorian Nude is the first exhibition to chart the moral and aesthetic controversies about the nude body in English visual culture from 1837-1901. Organized by the Tate Britain, it includes some 150 works ranging from painting and sculpture to popular illustration, photography and moving pictures. Through Jan. 5.

The Phillips Collection -- Washington, D.C. -- Pierre Bonnard -- Early and Late includes over 130 of his works in all media--including paintings, drawings, prints, photographs, decorative arts and sculpture--and explores the vision that united his work from the turn of the century to the late '40s. Through Jan. 19.

Museum of Art, Fort Lauderdale, FL -- Picasso Ceramics from the Bernie Bercuson Collection includes 65 ceramic works done by Pablo Picasso in Madoura, France, between 1947 and 1970. Through Feb. 16.

Corcoran Gallery of Art, Washington, D.C. -- The Shape of Color: Joan Miro's Painted Sculpture is the first comprehensive exploration of Miro's late polychrome sculpture and traces the artist's process by showing maquettes, documentary photos and rare films, as well as preparatory drawings and sketchbooks. Through Jan. 6 and then travels to the Salvador Dali Museum in St. Petersburg, FL.

Metropolitan Museum of Art, NYC -- Richard Avedon: Portraits features approximately 180 works that span the artist's entire career. At the core of the installation is a powerful group of portraits of many of the key artistic, intellectual and political figures from the late '50s through early '70s, including several large murals. Through Jan. 5.

National Gallery of Art, Washington, D.C. -- Willem de Kooning: Tracing the Figure brings together nearly 70 of the most beautiful works on paper that the artist executed between 1940 and 1955 and is the first exhibition to examine his pioneering vision of the female form. Through Jan. 5. In addition, the new sculpture galleries are open and display more than 800 works of art from the permanent collection. They feature primarily European sculpture dating from the Middle Ages to the early twentieth century. Several galleries and three French period rooms have been renovated, and seventeen new galleries have been designed to relate to the neoclassical spaces on the West Building's upper floor.

SIGN UP - FREE ARTtalk e-Newsletter©
Search all of ARTtalk!!

Copyright ARTtalk Vol. 13 No. 1 -- November 2002