Cubism taught me much and the principle of Pissarro, furthered by Seurat, taught me more. These with Cezanne are the great logicians of color.
No one will ever paint like Cezanne for example, because no one will ever have his peculiar visual gifts; or to put it less dogmatically, will anyone ever appear again with so peculiar and almost unbelievable a faculty for dividing color sensations and making logical realizations of them? Has anyone ever placed his color more reasonably with more of a sense of time and measure than he? I think not, and he furnished for the enthusiast of today new reasons for research into the realm of color for itself.
American artist (1877-1943)
Marsden Hartley (January 4, 1877 – September 2, 1943) was an American Modernist painter and poet in the early 20th century. He lived and worked several years in Europe (Germany and France, Aix en Provence). The landscape was his favourite subject; Cézanne was his great inspiration, together with William Blake and Emerson's writings.
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Alternative Names:
Hartley
•
Edmund Hartley
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As soon as a real artist finds out what art is, the more is he likely to feel the need of keeping silent about it, and about himself in connection with it. There is almost, these days, a kind of petit scandale in the thought of allying oneself with anything of a professional nature. And it is at this point that I shrink a little from asserting myself with regard to professional aspects of art. And here the quality of confession must break through.
I have always said that you do not see a thing until you look away from it. In other words, an object or a fact in nature has not become itself until it has been projected in the realm of the imagination. Therefore what has been retained in the mind’s eye is what lives. I have seldom or never worked from nature for this reason and so what I see is what I believe to be true, and that becomes the truism of the creative artist.
I believe until a man has given up himself he has given up nothing - all his knowledge of accepted aesthetics are of no avail until he has stepped aside from them and given up himself – himself only through the eyes of himself. What a problem everlasting then is it not? A life time of breathless endeavor to be the thing and do the thing of his being – So easy to travel along with claques and crowds, voicing vociferously the great discoveries of each – How ineffably difficult, voicing the soul of one man – alone to himself and – then to whomever else hears..
What I have to express is not handled with words. It must 'come' tot the observer. It must carry its influence over the mind of the individual into that region of him which is more than the mind. The pictures must reach inwards into the deeper experiences of the beholder – and mind you they care in no sense religious tracts – there is no story to them or literature – no morals – they are merely artistic expressions of mystical states – these in themselves being my own personal motives as drawn from either special experiences or aggregate ones.
It is the incongruous thing in my entire life, this isolation.. ..My work requires it – but I myself have no need or use for it – Perhaps once on a time I found isolation imperative – I think all chrysalises do – all embryos go for the underside of the leaf in the time of body-change preparing for the final reassertion –resurrection – the establishment of the entity. But now I’ve come up tot the outside of my casements.