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拍品专文
Seeking respite from urban life and financial burdens, in 1934 Marsden Hartley ventured to Gloucester, Massachusetts, where he painted both seascapes and still lifes including New England Sea View - Fish House. In the present work, Hartley paints a vista from what appears to be a local fish house, framing a brilliant blue seascape with sailboats in the distance. In classic Hartley fashion, he uses energetic brushstrokes to depict a cornucopia of marine symbols and objects, which brilliantly convey both the rustic nature of the fish house and ruggedness of the New England sea.
Hartley’s close friend and Stieglitz Circle associate, the celebrated poet William Carlos Williams, particularly admired the present work. Dickran Tashjian notes, “Since the poet could not afford the original, Hartley gave him an inscribed reproduction in 1936. The fish and the sea view in the background combine Williams’ admiration of Hartley’s still lifes and the requisite sense of place.” (William Carlos Williams and the American Scene: 1920-40, New York, 1978, p. 52) Art critic Hilton Kramer also praised in a 1982 review: “New England Sea View - Fish House anticipates some of the strength and melancholy that Hartley brought to the Maine paintings of his final years.” (The New York Times, February 5, 1982, p. 21)
Gail Scott writes regarding the present work, “Opposites of near and far, closed and open mesh in a tightly controlled web of shape, line and color. The black outline of the fish-house window becomes a ship in a bottle, its lower edge melting into a sandy shore, a transition space before the distant sea. Interior and exterior come together in the blue and white of sea, sky, cloud, and wave, reflected on the bodies of the two fish. In contrast to this grip on the composition the actual handling of the paint is loose and free, accentuated by scored hatch marks (also seen in the Dogtown works of that summer) on nets, piers, and cork floats.” (Marsden Hartley, New York, 1988, p. 104)
A related work titled Sea View, New England (1934) is in the collection of The Phillips Collection, Washington, D.C.
Hartley’s close friend and Stieglitz Circle associate, the celebrated poet William Carlos Williams, particularly admired the present work. Dickran Tashjian notes, “Since the poet could not afford the original, Hartley gave him an inscribed reproduction in 1936. The fish and the sea view in the background combine Williams’ admiration of Hartley’s still lifes and the requisite sense of place.” (William Carlos Williams and the American Scene: 1920-40, New York, 1978, p. 52) Art critic Hilton Kramer also praised in a 1982 review: “New England Sea View - Fish House anticipates some of the strength and melancholy that Hartley brought to the Maine paintings of his final years.” (The New York Times, February 5, 1982, p. 21)
Gail Scott writes regarding the present work, “Opposites of near and far, closed and open mesh in a tightly controlled web of shape, line and color. The black outline of the fish-house window becomes a ship in a bottle, its lower edge melting into a sandy shore, a transition space before the distant sea. Interior and exterior come together in the blue and white of sea, sky, cloud, and wave, reflected on the bodies of the two fish. In contrast to this grip on the composition the actual handling of the paint is loose and free, accentuated by scored hatch marks (also seen in the Dogtown works of that summer) on nets, piers, and cork floats.” (Marsden Hartley, New York, 1988, p. 104)
A related work titled Sea View, New England (1934) is in the collection of The Phillips Collection, Washington, D.C.