Morgenrot 1932

Curator: Here we have Marsden Hartley's "Morgenrot," painted in 1932. Notice the bold colors and abstracted form. Editor: It strikes me immediately with its rather unnerving energy. That bright red hand, set against the deep blues and blacks…it feels almost confrontational. Curator: The painting, rendered with thick impasto oil-paint, simplifies the hand to its essence—line, form, and color. The red against the white outline is a strong visual statement. Editor: Definitely. And think about the labor involved, the physical act of applying that thick paint. The aggressive brushstrokes are incredibly direct; there's little subtlety. Curator: Indeed. There's a kind of primal intensity here, moving past representation towards raw emotional expression. One might connect this expressionism with the burgeoning sociopolitical tensions present during this historical period. Editor: Good point. Expressionism as a response to societal unrest. I wonder, though, about the cultural context. What were Hartley's influences when producing this, or any other painting from the series? Curator: He explored his queer identity, German military imagery, and Indigenous iconography within American culture during his time living in Berlin and upon returning to the States, synthesizing different cultural contexts together within singular paintings like "Morgenrot." Editor: The material presence, the pure materiality of the painting really underscores this visceral experience. Curator: It serves as a visual reminder of human potential while reckoning with conflict; Hartley utilized paint both physically and conceptually. Editor: Looking closely, I am reminded that the impact isn't purely visual; it's tangible, made, worked on, constructed and that physicality resonates. Curator: Absolutely. It demonstrates the remarkable effect that results from simplified forms with striking hues and intentional use of materials. Editor: Seeing how Hartley utilized artmaking provides such an enlightening opportunity.