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Estimate: $ 3,000 - $ 5,000
MARSDEN HARTLEY Flowers in Goblet #2.
Lithograph on light tan wove paper, 1923. 655x500 mm; 26x19 3/4 inches (sheet), full margins. Edition of 25. Signed and dated in pencil, lower right. A superb impression of this very scarce lithograph.
Hartley (1877-1943) was a member of the "Stieglitz Group," under the patronage of the famed gallerist and early champion of modern art in America, Alfred Stieglitz (1864-1946) who arranged the artist's first solo exhibition in 1909 at his 291 gallery in New York. This was a major turning point in Hartley's career; through Stieglitz he met and became influenced by other emerging artists such as Charles Demuth (1883-1935), Arthur Dove (1880-1946), John Marin (1870-1953) and Georgia O'Keeffe(1887-1986).
Growing up in Maine and Cleveland, Hartley showed promise as a young artist and was funded by an art patron to study in New York in 1899. He studied with William Merritt Chase (1849-1916) at his New York School and at the National Academy of Design. But it was not until he gained the support of Stieglitz and the artist Arthur B. Davies (1862-1928), a senior member of the Stieglitz circle, that he was able to travel to Paris. In France, Hartley closely studied the Post-Impressionist and Cubist masterpieces and experimented in these styles. From Paris, he traveled through Europe and arrived in Berlin. Adopting a bold new style, Hartley exhibited with the avant-garde Der Blaue Reiter group in 1913. He revisited Berlin in 1914, producing his most iconic works of the War Motif series, following the death of his purported romantic partner, a German World War I soldier named Karl von Freyburg. These paintings are comprised of bold, sweeping colors, German insignia and undulating flattened shapes.
Ingenious and innovative, Hartley drew from the two-dimensionality of the Cubists and the spiritualism, raw emotion and subjectivity of the Expressionists. Hartley traveled around the world throughout his career, often deeply embedding himself in his surroundings. His works slowly became less abstract as his career advanced. University of Kansas 11.
