¶ … Marsden Hartley epitomizes the transition in American art towards abstractionism. In fact, Hartley was integral to fomenting the shift in American art, which had until then tended to lag behind its European avant-garde counterparts. Hartley spent more than a quarter of a century in Europe before and during World War One, in both Paris and Berlin, where he learned emerging techniques from cubism and abstract expressionism to fauvism. When Hartley returned to the United States, he retreated from the avant-garde styles and became known more as the "rooted-in-Maine American artist," (Slenske, 2014). Hartley's achievements lie as much in his versatility as in his encouragement of abstraction and experimentalism in American art. Hartley was born in Maine and exhibited a predilection for visual art at a young age. He was formally trained and got his start exhibiting in Alfred Stieglitz's Gallery 291 in New York. Stieglitz gave Hartley an exclusive exhibition, and later supported Hartley on his journey to Europe. Although Hartley never attained commercial success during his career, he did have a profound impact on his contemporaries and tended to be well regarded among his peers. In Paris, Hartley found himself among art's inner circles. He met Pablo Picasso and he "frequented the now infamous Saturday evening art salons of Gertrude and Leo Stein," (Peltakian, n.d.). Afterwards in Berlin, Hartley was introduced to members of Der Blaue Reiter (the Blue Rider group) including...

One of his more Kandinsky-esque paintings is "Musical Theme (Oriental Symphony)."
Hartley's lover, German officer Karl von Freyburg, was killed in World War One while Hartley remained in Berlin. The death of von Freyburg precipitated many of Hartley's "greatest" and most renowned works like "Portrait of a German Officer" and "Berlin Abstraction." These two paintings showcase the artist's embrace of abstraction, fused with his deconstructionist understanding of cubism as well. "Iron Cross" is another work from the same series, all of which use primary colors, bold geometric shapes, and almost total abstraction. The symbols in these paintings directly refer to von Freyburg, testimony to their serving as a eulogy and homage to his friend. For example, the number four refers to von Freyburg's military regimen, the number 24 to the year von Freyburg was when he died, and the iron cross itself to Freyburg's having been awarded it upon his death (Slenske, 2014). Other paintings Hartley completed during this time, like "Indian Composition," exposed Hartley's longing for home as well as his lingering fascination with American Indian motifs (The Phillips Collection, 2016). "Indian Composition" would potentially signal his…