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Marsden Hartley

著者: Bruce Robertson
出版商: New York : Abrams in association with the National Museum of American Art, Smithsonian Institution, 1995.
丛书: Library of American art (Harry N. Abrams, Inc.)
版本/格式:   图书 : 传记 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
Marsden Hartley belonged to the circle of avant-garde artists surrounding Alfred Stieglitz - which included Georgia O'Keeffe, John Marin, and Charles Demuth. Of all these modernists, Hartley was the only one who made his way to Germany, finding inspiration in Vassily Kandinsky and Franz Marc. He brought to American art a vision like no other. Hartley was an artist who went through spectacular changes in style and  再读一些...
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类型/形式: Biography
附加的形体格式: Online version:
Robertson, Bruce, 1955-
Marsden Hartley.
New York : Abrams in association with the National Museum of American Art, Smithsonian Institution, 1995
(OCoLC)624410145
提及的人: Marsden Hartley
材料类型: 传记
文件类型:
所有的著者/提供者: Bruce Robertson
ISBN: 0810934167 9780810934160
OCLC号码: 29548690
描述: 144 p. : ill. (some col.) ; 31 cm.
丛书名: Library of American art (Harry N. Abrams, Inc.)
责任: Bruce Robertson.

摘要:

Marsden Hartley belonged to the circle of avant-garde artists surrounding Alfred Stieglitz - which included Georgia O'Keeffe, John Marin, and Charles Demuth. Of all these modernists, Hartley was the only one who made his way to Germany, finding inspiration in Vassily Kandinsky and Franz Marc. He brought to American art a vision like no other. Hartley was an artist who went through spectacular changes in style and subject matter. His first works were transcendental post-Impressionist mountain views; his last ones included forceful and sensual studies of young athletes. This seeming inconsistency reflected a nature deeply divided between love and repression: he sublimated his feelings in mountain landscapes and expressed them directly in the late figure paintings. His finest works are those that eulogize the great lost loves of his life, such as Karl von Freyburg, a German officer killed at the beginning of World War One. Considered to be his most important contribution to modern art, Hartley's abstract funerary portraits of Freyburg combine personal symbolism, eroticized objects, state power, and private tragedy to powerful effect - a fusion of parts no other Cubist attempted. The rest of Hartley's career can be seen as a journey to relocate this vision in more representational terms, a point he reached by the end of his life. By this time, in the midst of another world war, Hartley had achieved recognition as a unique American master, and his sexuality, his subjects, and his style all have continued to have something important to say to later artists.

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