Marsden Hartley

An influential American modernist whose career was launched by Alfred Stieglitz, Marsden Hartley is best-known for his early German abstract paintings and southwestern landscapes and still lifes, as well as his late, emotionally evocative Maine scenes, all of which are considered valuable contributions to the modern art movement in America.

By Chelsea DeLay

I. Biography

In 1877, Edmund Hartley was born in Lewiston, Maine, to English immigrant parents. When he was only eight years old Hartley’s mother passed away. In his autobiography he explained how her death was a defining moment in his life: “I was to know complete isolation from that moment forward.”_[1] Four years later, his father remarried Martha Marsden and the couple moved to Cleveland, Ohio, while Hartley chose to remain in Auburn, Maine, and live with his older sister until 1893, when he joined his father and stepmother in Cleveland. He enrolled as a student at the Cleveland School of Art where he was exposed to the transcendental writings of Ralph Waldo Emerson, which strongly influenced the direction of his career.

In 1899, at the age of twenty-two, Hartley left Cleveland after receiving a stipend funding five years of study in New York. He first signed up for classes at the Chase School and transferred shortly thereafter to the National Academy of Design, where he became acquainted with future modernists Abraham Walkowitz and Maurice Sterne. He experienced his first taste of European Modernism when he came across the unique method of Italian painter Giovanni Segantini, known for his Segantini “stitch”, a small overlapping and interweaving brushstroke. Hartley’s colorful interpretation of this method would later become an identifiable characteristic in his work._[2] Hartley returned to Lewiston, Maine in 1906, at which point he decided to adopt his stepmother’s maiden name and began to go by the name of Marsden Hartley. He spent the following summer working at the Green Acre religious community in Eliot, Maine, where he became fascinated by spiritualism and mysticism. These interests, combined with his admiration for American tonalists George Inness and John Henry Twachtman, led to his early experimentation with incorporating symbolic aspects into his paintings of the surrounding landscape._[3]

Upon his return to New York in 1909, Hartley’s landscape paintings caught the eye of the famous photographer and gallerist Alfred Stieglitz, who offered to host the artist’s first solo exhibition at his 291 Gallery. This exhibition established Hartley’s connection to the American modernist movement, and he became an integral member of Stieglitz’s circle, an illustrious group of modernists including Charles Demuth, Arthur Dove, John Marin, Georgia O’Keeffe, and Paul Strand. During the months following his exhibition, Hartley became acquainted with dealer N.E. Montross, who invited the artist to his gallery to view a small marine painting by Albert Pinkham Ryder. Moonlit Marine elicited a deeply profound reaction from Hartley, who described, “I felt as if I had read a page of the Bible…it had in it a sense of realism besides that bore such a force of nature itself as to leave me breathless.”_[4] His personal response to and interpretation of Ryder’s work led to a stylistic shift in Hartley’s approach and his next series of paintings, known as the Dark Mountain paintings. In these works, Hartley adopted a darker, monochromatic palette and his forms became much more expressive and abstract in their appearance._[5]

Thanks to connections and funds provided by Stieglitz, Hartley traveled to Paris for the first time in 1912, where he frequented the studio of Gertrude Stein, famous for displaying the most current examples of European Modernism. He immersed himself within the avant-garde circles of the Parisian art scene, attended modernist exhibitions throughout the city, and became friends with Arthur B. Carles, Robert Delaunay, Charles Demuth, Alfred Maurer, and Edward Steichen. Hartley was also drawn to a group of German artists, which included sculptor Arnold Rönnenbeck and his cousin, a German officer named Lieutenant Karl von Freyburg._[6] Germany held inherent appeal for Hartley, who moved to Berlin in 1913. In a letter to Stieglitz written that year, Hartley wrote, “It is with Germans I have always found myself both in New York and Paris—and now it is in Germany that I find my creative conditions—and it is there I must go.”_[7]

The two years Hartley spent painting in Berlin resulted in a body of career-defining work that was well-received by German audiences—he was one of only a few Americans invited to exhibit at Berlin’s largest avant-garde exhibition, Erster deutscher Herbstsalon, and also had work included in the prestigious Münchener Graphik-Verlag exhibition._[8] Hartley remained in Germany until December 1915, at which point he was forced to return to New York by the escalating tensions caused by World War I. Life for the artist began a downward spiral upon his arrival back to the United States: his step-mother passed away less than one year after his father’s death in 1914, and the American public found an unwelcome sympathy in his German-inspired canvases.

In an effort to reconnect with his American audience, Hartley briefly returned to his native state of Maine in search of artistic inspiration, before deciding to spend the summer of 1916 in Provincetown, Massachusetts. His attention focused on subjects typically seen throughout the area, resulting in elegantly abstracted depictions of sailboats and New England houses, as well as refined floral scenes and still lifes. Craving a change in scenery, Hartley moved to New Mexico in 1918, where he was drawn to the areas of Taos and Santa Fe by the natural landscape and Native American culture. He developed a penchant for working in pastels during the eighteen months he spent in the southwest, where he naturally gravitated towards landscapes and still lifes. Hartley spent a majority of the 1920s in Berlin and France, where he continued to produce landscapes inspired by the natural landscape of New Mexico. It was during this period, however, that his admiration for Paul Cézanne peaked; Hartley spent two years in the artist’s French hometown of Aix-en-Provence studying and painting, producing boldly-colored scenes of the area’s mountainous terrain that were considered an accomplished nod to Cézanne’s modernist approach.

Hartley returned to the United States in 1930 only to be faced with the harsh aftermath of the stock market crash and the ensuing era of the Great Depression. However, just one year later, he experienced a significant turnaround in his career during a visit to Gloucester, Massachusetts. Just outside the town limits of this popular tourist destination, Hartley stumbled upon the barren landscape of Dogtown, an abandoned eighteenth-century city, and his painted scenes of the area were well-received by American audiences. He was the recipient of a travel grant from The Solomon R. Guggenheim Museum in 1931, which funded a painting trip to Cuernavaca, Mexico; the following year a solo exhibition of his work was held at the Galeria de la Escuela Central de Artes Plasticas in Mexico City. Hartley left Mexico for Germany in 1933, and on this trip the Bavarian Alps held an aesthetic appeal for him. He set forth in making detailed studies of the mountainous terrain in silverpoint drawings and pastels.

Hartley returned from Germany again in 1934 and worked briefly in the easel division of the Public Works of Art Project, but quit after only one month. He spent the next two years in Nova Scotia with the Masons, a French-Canadian fishing family, during which time he grew particularly close to the family’s two sons.; the tragic drowning of their two sons in 1936 affected Hartley so deeply that he created a series of portraits depicting the family, which are widely considered among his most moving works._[9] Deeply charged with emotional undercurrents of love and the pain of loss, these works were rendered in a powerful yet simple style that distinguishes Hartley’s later worksHartley retired to Maine in last years of his life, before passing away at the age of sixty-six in the city of Ellsworth.

Since his death in 1943, Hartley’s work has continued to captivate American audiences, as well as those abroad; his work has been the subject of solo exhibitions and retrospectives held at prestigious institutions including the Amon Carter Museum of American Art, Fort Worth, Texas; The Art Institute of Chicago, Illinois; Phillips Memorial Gallery, Washington, D.C.; The Royal Scottish Academy, Edinburgh, Scotland; Smithsonian American Art Museum, Washington, D.C.; and Whitney Museum of American Art, New York, New York. Examples from his oeuvre are highly sought-after by both American and European collectors—several of Hartley’s still lifes, New Mexico landscapes, German paintings, and Maine scenes have individually realized over one million dollars at auction. His work is represented in the permanent collections of over one hundred distinguished museums and institutions, including Crystal Bridges Museum of American Art, Bentonville, Arkansas; The Metropolitan Museum of Art, New York, New York; Museum of Fine Arts, Boston, Massachusetts; Museum of Fine Arts, Houston, Texas; National Gallery of Art, Washington, D.C.; and Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania.

II. Chronology

• 1877 Born Edmund Hartley January 4 in Lewiston, Maine
• 1885 Hartley’s mother dies, his younger sisters are sent to Cleveland, Ohio, to be raised by an already married sister; Hartley and one married sister remain in Auburn, Maine, with their father
• 1889 Hartley’s father remarries Martha Marsden and moves to Cleveland to join the rest of the family while Hartley remains in Auburn, Maine
• 1893 Moves to Cleveland, Ohio, where he is hired to work at a marble quarry
• 1896 Begins art classes with Cleveland-based painter John Semon
• 1898 Enrolls in Cleveland School of Art on scholarship
• 1899 Receives stipend from a trustee of the Cleveland School of Art for five years study in New York; studies at the Chase School in New York City
• 1900 Spends summer in Lewiston, Maine; enrolls at the National Academy of Design in New York, where he studies for four years
• 1902 Exhibits at the National Academy of Design, awarded honorable mention and the Suydam Silver Medal for still life drawing
• 1904–06 Works part-time job as an extra in Proctor’s Theater Company in New York
• 1906 Returns to Lewiston, Maine to teach painting; assumes step-mother’s maiden name, begins calling himself Edmund Marsden Hartley
• 1907 Spends the summer at Green Acre, a mystical-intellectual retreat in Eliot, Maine, where his first exhibition is held in the home of Mrs. Ole Bull; moves to Boston, Massachusetts
• 1908 Drops first name, goes by Marsden Hartley
• 1909 Meets Alfred Stieglitz in April, holds first solo exhibition at Stieglitz’s 291 Gallery in New York; introduced to the works of Albert Pinkham Ryder by dealer N. E. Montross
• 1912 Second solo exhibition at Stieglitz’s 291 Gallery; Travels to Paris, France and becomes acquainted with Gertrude Stein
• 1913 Meets Wassily Kandinsky in Munich; Moves to Berlin; Briefly returns to New York in November
• 1914 Moves to Berlin; Father passes away; Began German officer paintings
• 1915 Step-mother Martha Marsden passes away; exhibits forty-five paintings and abstract drawings at the Münchener Graphik-Verlag in Berlin; returns to New York in December
• 1916 Begins paintingPaints in synthetic cubist style; Spends summer in Provincetown, Massachusetts, meets Eugene O’Neill and the Provincetown Players
• 1918 Travels to New Mexico; paints landscape scenes depicting Santa Fe and Taos
• 1919 Visits La Cañada, California to see Carl Sprinchorn; travels to San Francisco
• 1920 Appointed first secretary of the Société Anonyme, founded by Marcel Duchamp, Katherine Dreier, and Man Ray; spends summer in Gloucester, Massachusetts, along with Stuart Davis
• 1921 Publishes Adventure in the Arts; Auctions 117 works at Anderson Galleries in New York to raise money for a return trip to Europe; leaves for Paris in July; Moves to Berlin in November
• 1922 Experiments with making still-life lithographs
• 1923 Publishes Twenty-five Poems; Travels to Vienna and Italy, spends eight weeks in Florence and Christmas in Rome with Maruice Sterne
• 1924 Returns to New York in February, travels to London and Paris in the summer
• 1925 Moves to Vence, France in August
• 1926 Moves to Aix-en-Provence
• 1928 Travels to Chicago in March to his exhibition at the Arts Club of Chicago; travels to Denver and Maine, returns to Paris in August
• 1929 Exhibits 100 landscapes and Parisian still lifes at Intimate Gallery in New York
• 1931 Receives Guggenheim grant to paint for one year outside of the United States, decides to work in Mexico; spends summer in Gloucester, Massachusetts, begins first series of Dogtown paintings
• 1932 Travels to Cuernavaca, Mexico, in May
• 1933 Solo exhibition at the Galeria de la Escuela Central de Artes Plasticas in Mexico City; leaves Mexico for Germany in April; writes autobiography, Somehow a Past, in November and December
• 1934 Hired by the federal government in the easel division of the Public Works of Art Project, quits after one month
• 1935 Destroys 100 paintings and drawings stored in a warehouse in an effort to reduce the cost of storage; summers in Bermuda, paints landscapes and pastels of fish and flowers; travels to Blue Rocks, Nova Scotia
• 1936 Works for the Works Progress Administration from January through May
• 1937 Last exhibition with Stieglitz at his gallery, An American Place, exhibits recent paintings that are primarily of Nova Scotia; moves to Portland, Maine
• 1939 Moves to West Brookville, Maine, in July, and then to Bangor, Maine, in September, where he teaches painting at the Bangor Society of Art; takes eight-day trip to Mount Katahdin
• 1940 Publishes Androscoggin, a volume of poetry
• 1941 Enters into artist-dealer partnership with MacBeth Gallery; concentrates on writing poetry and essays, publishes Sea Burial; travels to Cincinnati for joint exhibition with Stuart Davis
• 1942 Receives Fourth Painting Purchase Prize in the exhibition Artists for Victory at The Metropolitan Museum of Art
• 1943 Dies of heart failure on September 2 in Ellsworth, Maine

III. Collections

• Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
• Albright-Knox Art Gallery, New York
• Amon Carter Museum of American Art, Texas
• Arkansas Art Center, Little Rock, Arkansas
• The Art Institute of Chicago, Illinois
• The Baltimore Museum of Art, Maryland
• Birger Sandzén Memorial Gallery, Lindsborg, Kansas
• Blanton Museum of Art, Austin, Texas
• Brooklyn Museum, New York
• Burchfield Penny Art Center, Buffalo, New York
• The Butler Institute of American Art, Youngstown, Ohio
• Cape Ann Museum, Gloucester, Massachusetts
• Carnegie Museum of Art, Pittsburgh, Pennsylvania
• Chrysler Museum of Art, Virginia
• Cincinnati Art Museum, Ohio
• The Cleveland Museum of Art, Ohio
• Colby College Museum of Art, Waterville, Maine
• The Columbus Museum, Georgia
• Columbus Museum of Art, Ohio
• Corcoran Gallery of Art, Washington, D.C.
• Crocker Art Museum, Sacramento, California
• Crystal Bridges Museum of American Art, Arkansas
• The Cummer Museum of Art & Gardens, Florida
• Dallas Museum of Art, Texas
• The Dayton Art Institute, Ohio
• Delaware Art Museum, Wilmington, Delaware
• Denver Art Museum, Colorado
• de Young Museum, Fine Arts Museums of San Francisco, California
• The Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana
• Georgia Museum of Art, Athens, Georgia
• The Heckscher Museum of Art, Huntington, New York
• Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
• Hunter Museum of American Art, Chattanooga, Tennessee
• Indianapolis Museum of Art, Indiana
• Jule Collins Smith Museum of Fine Art at Auburn University, Alabama
• Los Angeles County Museum of Art, California
• McNay Art Museum, San Antonio, Texas
• Mead Art Museum, Amherst College, Massachusetts Museum, Cambridge, Massachusetts
• Memorial Art Gallery of the University of Rochester, New York
• The Metropolitan Museum of Art, New York, New York
• Mildred Lane Kemper Art Museum, St. Louis, Missouri
• The Minneapolis Institute of Arts, Minnesota
• Montgomery Museum of Fine Arts, Alabama
• Mount Holyoke College Art Museum, South Hadley, Massachusetts
• Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York
• Museum of Fine Arts, Boston, Massachusetts
• The Museum of Fine Arts, Houston, Texas
• National Gallery of Art, Washington, D.C.
• The Nelson-Atkins Museum of Art, Kansas City, Missouri
• Neuberger Museum of Art, Purchase, New York
• Newark Museum, New Jersey
• New Jersey State Museum, Trenton, New Jersey
• New Mexico Museum of Art, Santa Fe, New Mexico
• The New Orleans Museum of Art, Louisiana
• North Carolina Museum of Art, Raleigh, North Carolina
• Ogunquit Museum of American Art, Maine
• Palmer Museum of Art, University Park, Pennsylvania
• Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania
• Philadelphia Museum of Art, Pennsylvania
• The Phillips Collection, Washington, D.C.
• Phoenix Art Museum, Arizona
• Portland Art Museum, Oregon
• Portland Museum of Art, Maine
• The Rose Museum of Brandeis University, Waltham, Massachusetts
• The Roswell Museum and Art Center, New Mexico
• Saint Louis Art Museum, Missouri
• The San Diego Museum of Art, Balboa Park, California
• Santa Barbara Museum of Art, California
• Seattle Art Museum, Washington
• Sheldon Museum of Art, University of Nebraska—Lincoln, Nebraska
• Smithsonian American Art Museum, Washington, D.C.
• The Snite Museum of Art, Notre Dame, Indiana
• Toledo Museum of Art, Ohio
• Tuscon Museum of Art, Arizona
• University of Michigan Museum of Art, Ann Arbor, Michigan
• Wadsworth Atheneum Museum of Art, Hartford, Connecticut
• Weisman Art Museum, Minneapolis, Minnesota
• Whitney Museum of American Art, New York, New York
• Yale University Art Gallery, New Haven, Connecticut

IV. Exhibitions

• 1902 National Academy of Design, New York, New York, honorable mention, Suydam Silver Medal
• 1909, 1912, 19148, 1916–17 Photo-Secession Galleries (“291”), New York, New York, solo exhibitions
• 1911 Gallery of the Society of Beaux-Arts Architects, New York, New York
• 1913 The International Exhibition of Modern Art, New York
• Erster deutscher Herbstsalon, Berlin, Germany
• 1914 Max Liebermann, Berlin, Germany
• 1915 Schames Galerie, Frankfurt, Germany, solo exhibition
• Münchener Graphik-Verlag, Berlin, Germany, solo exhibition
• 1917 Ogunquit School of Painting and Sculpture, Ogunquit, Maine, solo exhibition
• Grand Central Palace, New York, New York
• 1917, 1921 Society of Independent Artists, New York, New York
• 1921 Anderson Galleries, New York, New York
• 1924–26 Galerie Briant-Robert, Paris, France
• 1928 The Art Club of Chicago, Illinois, solo exhibition
• 1929 Intimate Gallery, New York, New York, solo exhibition
• 1930, 1936, 1951 The Museum of Modern Art, New York, New York
• 1932 Downtown Gallery, New York, New York
• 1933 Galeria de la Escuela Central de Artes Plasticas, Mexico City, Mexico, solo exhibition
• 1933–34, 1939–43 The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, prize, 1940
• 1934–5, 1937–8, 1940–3, 1946 Whitney Museum of American Art, New York, New York
• 1937 An American Place, New York, New York
• 1938–40 Hudson Walker Gallery, New York, New York, solo exhibition
• 1939 Symphony Hall, Boston, Massachusetts, solo exhibition
• 1941–2 The Metropolitan Museum of Art, New York, New York, purchase prize, 1942
• 1941 Cincinnati Art Museum, Ohio
• 1942 MacBeth Gallery, New York, New York, solo exhibition
• 1942, 1968 M. Knoedler and Company, New York, New York, solo exhibitions
• 1943, 1948, 1950–51, 1955, 1960 Paul Rosenberg and Company, New York, New York, solo exhibitions
• 1943 Phillips Memorial Gallery, Washington, D.C., solo exhibition
• Carnegie Institute, Pittsburgh, Pennsylvania
• 1944 Columbus Gallery of the Fine Arts, Ohio, solo exhibition
• The Museum of Modern Art, New York, New York, solo exhibition
• Los Angeles County Museum, California, solo exhibition
• 1946 Museum of Art, Rhode Island School of Design, Providence, Rhode Island
• 1949 Institute of Contemporary Art, Boston, Massachusetts
• 1951 University Art Museum, University of Minnesota, Minneapolis, Minnesota; retrospective
• 1955, 1957, 1957, 1959–62, 1972, 1975, 1980 Babcock Galleries, New York, New York, solo exhibition
• 1958 Museum of New Mexico Art Gallery, Santa Fe, New Mexico, solo exhibition
• 1960, 1962, 1964 Alfredo Valente Gallery, New York, New York; solo exhibitions
• 1963 Amon Carter Museum of American Art, Fort Worth, Texas
• 1964 La Jolla Museum of Art, California
• 1965 Smithsonian American Art Museum, Washington, D.C.
• 1966 Birmingham Museum of Art, Alabama; University Art Museum, University of Minnesota, Minneapolis, Minnesota; Oklahoma Art Center, Oklahoma City, Oklahoma; Portland Art Museum, Oregon; University of Iowa Art Museum, Iowa City; Colby College Museum of Art, Waterville, Maine; Frye Art Museum, Seattle, Washington; Wichita Art Museum, Kansas; Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York, American Federation of Arts traveling exhibition
• 1969 Bernard Danenberg Galleries, New York, retrospective
• 1970 Smithsonian American Art Museum, Washington, D.C., traveling exhibition
• 1974 Pierce Gallery, Bangor, Maine, solo exhibition
• 1975 Delaware Art Museum, Wilmington, Delaware
• 1977 The Royal Scottish Academy, Edinburgh, Scotland; Hayward Gallery, London, England
• 1978 Treat Gallery, Bates College, Lewiston, Maine, solo exhibition
• 1979 Städtische Kunsthalle Duüsselforf, Germany
• 1980 Whitney Museum of American Art, New York, New York; The Art Institute of Chicago, Illinois; Amon Carter Museum of American Art, Texas; University Art Museum, University of California, Berkley, California, retrospective, traveling exhibition
• Barridoff Galleries, Portland, Maine, solo exhibition
• 1985 Cape Ann Historical Association, Gloucester, Massachusetts, solo exhibition
• 1986 The High Museum of Art, Atlanta, Georgia; Pérez Art Museum Miami, Florida; Brooklyn Museum, New York, traveling exhibition
• Smithsonian American Art Museum, Washington, D.C.; Cincinnati Art Museum, Ohio; The Museum of Fine Arts, Houston, Texas; Denver Art Museum, Colorado, traveling exhibition
• Los Angeles County Museum of Art, California; Museum of Contemporary Art, Chicago, Illinois; Gemeente Museum, The Hague, Den Haag, Netherlands, solo exhibition
• 1987 Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia; Art Gallery of Ontario, Toronto, Canada, solo exhibition
• Contemporary Arts Museum, Houston, Texas
• 1988 Vanderwoude Tananbaum, New York, New York, solo exhibition
• Salander-O’Reilly Galleries, New York, New York, solo exhibition
• 1996 Museum of Fine Arts, Boston, Massachusetts
• 1998 Newcomb Art Gallery, New Orleans, Louisiana, solo exhibition
• 1999 Norton Museum of Art, West Palm Beach, Florida, solo exhibition
• 2003 The Nelson-Atkins Museum of Art, Kansas City, Missouri
• 2005 Tacoma Art Museum, Washington, solo exhibition
• 2006 New Mexico Museum of Art, Santa Fe, New Mexico, solo exhibition
• 2007 El Paso Museum of Art, Texas, solo exhibition
• 2008 Georgia O’Keeffe Museum, Santa Fe, New Mexico; Amon Carter Museum, Ft. Worth, Texas, solo exhibition, traveling exhibition
• Boise Art Museum, Idaho, solo exhibition
• Corcoran Gallery of Art, Washington, D.C.
• Westmoreland Museum of Art, Greensburg, Pennsylvania
• 2009 Frye Art Museum, Seattle, Washington
• 2010 The Art Institute of Chicago, Illinois
• Phoenix Art Museum, Arizona
• Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania
• National Portrait Gallery, Smithsonian Institution, Washington D.C.
• National Gallery of Art, Washington, D.C.
• 2011 Portland Museum of Art, Maine
• High Museum of Art, Atlanta, Georgia
• Metropolitan Museum of Art, New York, New York
• Brooklyn Museum of Art, New York, New York
• 2012 Boise Art Museum, Idaho, solo exhibition
• Alexandre Gallery, New York, New York, solo exhibition
• Oklahoma City Museum of Art, Oklahoma
• Bruce Silverstein Gallery, New York, New York
• Driscoll Babcock Galleries, New York, New York
• The Museum of Modern Art, New York, New York
• Whitney Museum of American Art, New York, New York
• 2013 Huntington Library, Art Collections, and Botanical Gardens, San Marino, California, solo exhibition
• Brooklyn Museum, New York
• The John and Mable Ringling Museum of Art, Sarasota, Florida
• Delaware Art Museum, Wilmington, Delaware
• Dallas Museum of Art, Texas
• Royal Academy of Arts, London, United Kingdom
• The Museum of Modern Art, New York, New York
• Colby College Museum of Art, Waterville, Maine
• El Paso Museum of Art, Texas
• Boca Raton Museum of Art, Florida
• 2014 Portland Museum of Art, Maine
• Reynolda House Museum of American Art, Winston-Salem, North Carolina
• Neue Nationalgalerie, Berlin, Germany; Los Angeles County Museum of Art, California, solo exhibition, traveling exhibition

V. Memberships

• Société Anonyme, 1919, secretary

VI. Notes

1. Marsden Hartley, Somehow a Past: The Autobiography of Marsden Hartley, ed. Susan Elizabeth Ryan (Cambridge: MIT Press, 1977), 49.
2. Elizabeth Mankin Kornhauser, “Marsden Hartley: ‘Gaunt Eagle from the Hills of Maine,” Marsden Hartley (New Haven: Yale University Press, 2002), 15.
3. Ibid.
4. Gail R. Scott, Marsden Hartley, (New York: Abbeville Press Publishers, 1988), 26.
5. Charles W. Milliard, “Marsden Hartley,” The Hudson Review 33 (Autumn 1980), 415.
6. William H. Robinson, “Marsden Hartley’s Military,” The Bulletin of the Cleveland Museum of Art 76 (January 1989), 8.
7. Johnathan Weinberg, Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde (New Haven and London: Yale University Press, 1993), 141.
8. Kornhauser, 18.
9. Ibid., 25.

VII. Suggested Resources

• Falk, Peter Hastings, ed. Who Was Who in American Art, 1564–1975: 400 Years of Artists in America, vol. II: G–O. Madison, Connecticut: Sound View Press, 1999.
• Hartley, Marsden. Somehow a Past: The Autobiography of Marsden Hartley, edited by Susan Elizabeth Ryan. Cambridge: MIT Press, 1977.
• Haskell, Barbara. Marsden Hartley. New York: Whitney Museum of American Art, 1980.
• Kornhauser, Elizabeth Mankin. Marsden Hartley. New Haven: Yale University Press, 2002.