This bold design, together with Military Symbols 1 and Military Symbols 2 (MMA 62.15.1 and 62.15.2), reveals Hartley’s fascination with the military pageantry he saw in Berlin, where he traveled and lived between 1913 and 1914, until World War I forced him to return to the United States. Working in a manner closely related to Synthetic Cubism, Hartley combined in these drawings various military motifs: flags, uniforms, and medals. The prominent cursive "E" that appears in this work and Military Symbol 1 refers to the prestigious Queen Elizabeth regiment, to which a Prussian lieutenant, whom Hartley loved, belonged.
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Artwork Details
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Title:Military Symbols 3
Artist:Marsden Hartley (American, Lewiston, Maine 1877–1943 Ellsworth, Maine)
Date:1914
Medium:Charcoal on paper
Dimensions:24 1/4 × 18 1/4 in. (61.6 × 46.4 cm)
Classification:Drawings
Credit Line:Rogers Fund, 1962
Object Number:62.15.3
the artist (1914–d. 1943, his estate, 1943–61; estate no. 283; on consignment 1955–61 to Martha Jackson; sold in 1961 to Jackson); Martha Jackson Gallery, New York, 1961; sold in 1961 to David Anderson]; [David Anderson Gallery, New York,1961–62; sold to MMA]
New York. Martha Jackson Gallery. "Marsden Hartley: The Berlin Period, 1913–1915. Abstract Oils and Drawings," January 3–29, 1955, no catalogue (as one of checklist nos. 13–18, "Symbols," lent by the Estate of Marsden Hartley).
New York. Anderson Galleries. "Marsden Hartley: Paintings and Drawings," April 25–May 20, 1961, no catalogue.
New York. The Metropolitan Museum of Art. "Three Centuries of American Painting," April 9–October 17, 1965, unnum. checklist (dated ca. 1913–14).
American Federation of Arts circulating exhibition. "From Synchromism Forward: A View of Abstract Art in America," November 1967–November 1968 (lent to numerous U.S. venues, including those listed below), no. 22.
Cedar Rapids Art Center. "From Synchromism Forward: A View of Abstract Art in America," November–December 3, 1967.
Lansing. Kresge Art Center, Michigan State University. "From Synchromism Forward: A View of Abstract Art in America," July 14–August 4, 1968.
New York. Solomon R. Guggenheim Museum. "Twentieth-Century American Drawing: Three Avant-Garde Generations," January 23–March 21, 1976, no. 51 (as "Military Symbol III," ca. 1913–14).
Staatliche Kunsthalle Baden-Baden. "Amerikanische Zeichner des 20.Jahrhunderts—Drei Generationen von der Armory Show bis heute," May 27–July 11, 1976, no. 44.
Staatsgalerie Stuttgart. "Magie der Zahl in der Kunst des 20. Jahrhunderts," February 1–May 19, 1997, no. 2.12 (dated 1913–14).
New York. The Metropolitan Museum of Art. "World War I and the Visual Arts," July 31, 2017–January 7, 2018 (MMA Bulletin, Fall 2017, p. 8).
Henry Geldzahler. American Painting in the Twentieth Century. New York, 1965, pp. 59–60, ill. [erroneously identified as "Military Symbols 2"], dates it about 1913–14.
George Shane. "Abstract Art Show Opens Tour at C.R." Des Moines Register (November 19, 1967), p. 14.
"Abstract Art in U.S. Featured in Exhibit." State Journal (Lansing, Michigan) (July 14, 1968), p. D-5.
Karin von Maur inMagie der Zahl in der Kunst des 20. Jahrhunderts. Ed. Karin von Maur. Exh. cat., Staatsgalerie Stuttgart. Ostfildern bei Stuttgart, 1997, pp. 31, 251, no. 2.12, ill. p. 46.
Jennifer Farrell. "World War I and the Visual Arts." Metropolitan Museum of Art Bulletin 75 (Fall 2017), p. 8.
Emily Schuchardt Navratil in Rick Kinsel William Low and Emily Schuchardt Navratil. Marsden Hartley: Adventurer in the Arts. Exh. cat., Bates College Museum of Art, Lewiston, Maine. London, 2020, p. 102.
Managing Editor Michael Cirigliano II explores the ways in which two queer artists, Marsden Hartley and Wilfred Owen, used their respective mediums to memorialize the effects of World War I.
Marsden Hartley (American, Lewiston, Maine 1877–1943 Ellsworth, Maine)
1940–41
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