작품 상세

MARSDEN HARTLEY (American, 1878-1943) Pears and Apples, circa 1918 Pastel on paper 15 x 19 inches (38.1 x 48.3 cm) Signed lower right: Marsden Hartley PROPERTY FROM THE KING COLLECTION, TEXAS PROVENANCE: Kraushaar Galleries, New York; Mrs. Ralph Ogden; Estate of the above; Terry and Joan Stern, New York, acquired from the above; [With] Salander-O'Reilly Galleries, New York; William Dean, New York; [With] Terry Dintenfass Gallery, Inc. New York; Reagan Upshaw, New York; Private collection, Texas; Owings-Dewey Fine Art, Santa Fe, New Mexico; Acquired by the present owner from the above, June 1987. EXHIBITED: University of Kansas Museum of Art, Lawrence, Kansas, "Marsden Hartley Lithographs and Related Works," March 19-April 16, 1972; Georgia O'Keeffe Museum, Santa Fe, New Mexico, "Four Painters of the Stieglitz Circle," November 2, 1999-February 29, 2000; El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 5, 2014, no. 64. LITERATURE: University of Kansas Museum of Art, Marsden Hartley Lithographs and Related Works, exhibition catalogue, Lawrence, Kansas, illustrated as no. 23; P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 159-63, no. 64, illustrated. Marsden Hartley executed Pears and Apples in 1918, while staying with modern art patroness Mabel Dodge and her husband Maurice Sterne in Taos, New Mexico. It is believed that Hartley renewed his acquaintance with Leo Stein around this time, as Stein was building a house near Mabel's home. The Cézannesque style evidenced in the present work may be the result of his renewed friendship with Stein. Hartley had first experimented with Post-Impressionism during his stay in Paris in 1912, but soon abandoned it upon his arrival in Munich when he encountered German Expressionism. According to Dr. Patrick Shaw Cable, "Pears and Apples looks directly to Cézanne, yet the careful contour lines capturing the fruits' deformation endow the picture with a personally expressive intent. Considered together with Hartley's other New Mexico works revealing his new appreciation of Cézanne in 1918-19, the work highlights how the unique Southwest experience must have prompted Hartley's re-examination of Cézanne's elemental art" (Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, p. 161). Pears and Apples is similar in date, style, coloration, and composition to the pastel Three Pears in the collection of the Williams College Museum of Art, Williamstown, Massachusetts. The work also relates to the artist's lithograph, Dish of Apples and Pears, 1923, in the collection of the Museum of Modern Art, New York.