Flat planes of soft colors are stacked and floating in space, slipping past one another, creating the abstract form of a ship. The black mast peeks out at the very top of the composition, balanced by the black shape at the base, which appears to be the prow of the ship. The central white rectangle reads as a sail, while the other forms defy identification.
Hartley spent the summer and fall of 1916 in Provincetown with the artist Charles Demuth. He created a group of these abstract paintings including Provincetown, 1916, in the Art Institute of Chicago and Movement No. 7, Provincetown, 1916, co-owned by Fisk University and Crystal Bridges Museum of American Art.
Charles L. Daniel;
[Knoedler Gallery, New York, NY];
[Charles L. Daniel Sale, Parke-Bernet Gallery, New York, March 14, 1946, lot 49];
[David Anderson Gallery, New York, NY];
Private Collection, New York, NY;
[Hollis Taggart Galleries, New York, NY];
Private Collection, New York, NY;
[Owings-Dewey Fine Art, Santa Fe, NM];
Los Angeles. University Galleries, University of Southern California. The University Galleries of the University of Southern California and The University Art Museum of the University of Texas at Austin present a selection of representative works by Marsden Hartley, Painter/Poet 1877-1943 (Nov. 20-Dec. 20, 1968); Tucson, AZ. Tucson Art Center (January 10-February 16, 1969); cat. no. 55.
Austin, Texas. Blanton Museum of Art. Routes Towards Modernism, American Painting 1870-1950. September 13-December 29, 2002.
New York. Hollis-Taggart Galleries. From Hawthorne to Hofmann: Provincetown, Vignettes, 1898-1945. November 14, 2003-January 17, 2004, ill. np., pl. 25.
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).
Humlebaek, Denmark. Louisiana Museum of Modern Art. MarsdenHartley. September 19, 2019-January 19, 2020.
Knoedler Gallery. Parke-Bernet Gallery, New York. Modern American Paintings & Drawings: Collected by Charles Daniel. March 14, 1946, lot 49.
Elizabeth McCausland Papers, Marsden Hartley Catalogue Raisonné: Oils, circa [1944-1964]. Annotated by Hudson D. Walker. Box 18, Folder 10, Frames 1-2,7. Archives of American Art, Smithsonian Institution.
Elizabeth McCausland Papers: Other Research Files: Period of 1923-1929, 1929, [1950s]. Box 14, Folder 7, Frames 5-7, ill. Frame 5. Archives of American Art, Smithsonian Institution.
Cone, Michèle C. “Inheriting Cubism,” ARTnews, March 2002, p. 119, ill. p. 119.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 25, 60-61, 266, ill. p. 61.
O’Hern, John. “Modern Manor,” American Fine Art Magazine, September/October 2013, ill. p. 56.
Watts Jr., James D. “Modern masterworks: Philbrook exhibit brings American masters to Tulsa,” Tulsa World, February 12, 2015, 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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