In this mountain landscape, the mountain looms large in the background, topped by huge white clouds and held back by a wooden fence that runs the length of the composition. The grassy foreground, defined by patches of different colors, seems to undulate. The green of the grass mirrors the ridge of the mountain. Six trees in full bloom dot the landscape on either side of the fence.
In May 1908 Hartley stayed in the Stoneham Valley, where he painted the landscape in his so-called Segantini-stitch brush strokes, inspired by the Italian painter Giovanni Segantini (1858–99). The paint is thickly applied to the surface of the painting, but the brush strokes are small.
[Daniel Gallery, New York, NY];
[Knoedler & Co., New York, NY, by 1944];
Private Collection, New York, NY];
By descent in the family;
[Sotheby’s New York, December 3, 2008, lot 50];
[Owings-Dewey Fine Art, Santa Fe, NM, 2008];
New York. Little Galleries of the Photo-Secession (291). Exhibition of Paintings in Oil by Mr. Marsden Hartley of Maine. May 1909, cat. no. 1.
New York. Daniel Gallery. Paintings by Marsden Hartley: The Mountain Series. January-February 9, 1915, cat. no. 17.
New York. The Museum of Modern Art. Marsden Hartley. October 24, 1944-January 14, 1945.
Probably: Chicago. The Arts Club of Chicago. Marsden Hartley Memorial Exhibition. December 7-31, 1945, cat. no. 3.
Tulsa. Philbrook Museum of Art. From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection (February 8-May 3, 2015); Phoenix. Phoenix Art Museum (June 5-September 6, 2015); Santa Fe. Georgia O’Keeffe Museum (September 25, 2015-January 10, 2016).
Santa Fe. Georgia O’Keeffe Museum. Extended loan. January-April 2016.
New York. The Met Breuer. Marsden Hartley’s Maine (March 15-June 18, 2017); Waterville, ME. Colby College Museum of Art (July 8-November 12, 2017).
Elizabeth McCausland Papers, Marsden Hartley Catalogue Raisonné: Oils, [circa 1944-1964]. Box 13, Folder 25, Frames 6, 8, 9. Archives of American Art, Smithsonian Insitution.
Elizabeth McCausland Papers, Other Research Files: Prices of Hartley Paintings, 1940-1944, undated. Box 18, Folder 42, Frame 10. “High Noon, 1909, Knoedler, $750, 44.2160 [museum number for MoMA exhibition].” Archives of American Art, Smithsonian Institution.
Ludington, Townsend. Marsden Hartley: The Biography of an American Artist. Boston: Little, Brown and Company, 1992, p. 59.
Private Collection. Sotheby’s, New York. American Paintings, Drawings & Sculpture. December 3, 2008, pp. 108-111, lot 50, ill. p. 109 and back cover.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 23, 44-45, 234, 235, 240, 266, ill. pp. 45, 240, fig. 23.
Pochoda, Elizabeth. “Freedom and the abstract truth: Jan and Marica Vilcek’s collection of American modernist art,” The Magazine Antiques (May/June 2013), ill. p. 99.
Meleko Mokgosi receives the Vilcek Prize for Creative Promise in Fine Arts for paintings that rely on intensive research, reflection, and conversation in order to address widespread misrepresentation of Africa and Africans, and to accurately portray the continent’s complex social and political realities.
Iman Issa receives the Vilcek Prize for Creative Promise in Fine Arts for exploring, through works of various media, difficult philosophical questions, such as the individual’s relationship to places, figures, and events that are collectively familiar, or the difference between experience and recognition.
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