Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129 Page 130 Page 131 Page 132 Page 133 Page 134 Page 135 Page 136 Page 137 Page 138 Page 139 Page 140Legends 44 p o r t L a n d monthly magazine photos within public domain, the-athanaeum.org and Wassily Kandinsky, the great painterly spiritualist and pio- neer of abstraction. More famously, during his time in Berlin, Hartley met Prus- sianlieutenantKarlvonFreyburg,whobecametheloveofhislife. Von Freyburg was the cousin of Hartley’s friend Arnold Ronne- beck, and he was the subject of Hartley’s best-known paintings– the Portrait of a German Officer series–after von Freyburg was killed in battle in October 1914. These paintings feature bold and bright presentations not of the man but his regalia–his associated symbols and markers of military pageantry. early years Born in Lewiston as Edmund Hartley (he later took his mother’s maiden name, Marsden), the painter had a tough and lonely life as a young man in Maine. The youngest of nine children to im- migrant parents, his mother died when he was eight years old. One Portrait of One Woman (pictured left), 1916, oil on composition board,30” × 25”,University of Minneapolis this is a 1916 symbolic portrait of gertrude stein, the american ex- pat whose salons at 27 rue de Fleurus were the intellectual soul of the parisian modernist art scene frequented by the likes of picasso and ma- tisse. hartley was the first american painter stein encouraged, and she featured a word portrait of hartley in her play IIIIIIIIII.hartley’s placement of “moi”– me, or i–is witty: it can be seen as a label of stein–i–or as hart- ley’s marker at the table across from his supporter.this playful and witty deployment of a vast range of symbols and their possibilities reveals hartley’s sophisticated understanding of late (synthetic) cubism. The Ice Hole (pictured opening page), 1908, oil on canvas, 34” x 34”, New Orleans Museum of Art. in1908,hartleylivedatanoldfarmnearlovell,maine,wherehepainted series of the mountains and winter landscapes including The Ice Hole. it is a transformational image: men had mined the lake for ice and so cre- ated a hole in the frozen landscape for fishing.the negative form of the cut-ice shape is the keystone to hartley’s fascinated meditation on the literal and metaphorical opening of the hole between human culture and the hidden mysteries of nature’s landscape.