Christ is a portrait of Jesus Christ shown from the chest up, his bare torso exposed, against a bright red background. He appears in the midst of an appeal, with his head is tilted back, eyes focused above, eyebrows furrowed, and mouth open.
Estate of The Artist;
[Paul Rosenberg & Co., Inc., New York, NY];
[Alfredo Valente Gallery, New York, NY, 1960];
Development Office, Fairleigh Dickinson University, Teaneck, NJ;
[Joan Washburn Gallery, New York, NY];
Private Collection, New York;
[Joan Washburn Gallery, New York, NY, 1987];
The Barney A. Ebsworth Collection, 1989;
[Christie’s, New York, November 14, 2018, lot 528];
New York. Alfredo Valente Gallery. Marsden Hartley, September 28-November 5, 1960, no. 17.
New York. Washburn Gallery. Major American Paintings, June 1987, no. 8, ill.
New York. Washburn Gallery. Major Paintings, Drawings & Photographs, November 22-December 3, 1996 no. 6.
Elizabeth McCausland Papers, Catalogue Raisonne Files: Oils, [circa 1944-1964], Box 16, Folder 10, Frames 1-2. Archives of American Art, Smithsonian Institution.
Robertson, Bruce. “Marsden Hartley and Self-Portraiture,” in E.M. Kornhauser, Marsden Hartley. Hartford: Wadsworth Atheneum, 2002, pp. 156, 161, 248, ill. p. 156, fig. 2.
Coco, Janice. “Dialogues with the Self: New Thoughts on Marsden Hartley’s Self-Portraits,” Prospects: An Annual of American Cultural Studies, vol. 30, 2005, pp. 635-36, fig. 5, ill.
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.
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.
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