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 140207.646.5511 OgunquitPlayhouse.org 10 Main St (Rte 1) Ogunquit, ME GET YOUR TICKETS TODAY! AUG 10 -SEP 3 A JOURNEY TO THE HEART OF FABULOUS! MEN! RAINING IT’S GIRLS JUST WANT TO HAVE FUN! I WILL SURVIVE! A RIP-ROARIN’, ALL-DANCING, ALL-SINGING, MUSICAL COMEDY CLASSIC! SEP 7 thru OCT 1 Free and open to the public 314 Forest Avenue, Portland | oshermaps.org Explore the intersections of art and maps at the Osher Map Library and Museum s e p t e m b e r 2 0 1 6 4 7 bol-laden image is a depiction of Crane. In fact, this is a theme with Hartley. Despite the beautiful corporeal presence of the box- er and the Canadian fishermen, Hartley’s most important “portraits” of his gay col- leagues depict them indirectly: Hartley’s seminal Portrait of a German Officer (pic- tured previous page) paintings follow a cub- ist path of semiotic symbolism to refer to his lover, and his portrait 1916 of Gertrude Stein, One Portrait One Woman, recent- ly on view at the Bowdoin College Museum of Art’s This is a Portrait if I Say So exhibi- tion, similarly renders its subject poetical- ly through symbols rather than depicted resemblance: It’s a portrait, but there is no picture of a person. I n other words, Hartley’s portrait of ho- mosexuality appears as the body invisi- ble: a coded identity, or, rather, identity as code. Moreover, it is this insight about painting that made Hartley the greatest in- terpreter of Picasso’s and Braque’s late cub- ism, possibly the first person to fully grasp the implications of synthetic cubism. With his German Officer paintings, we can say Hartley paved the way for Magritte’s icon- ic 1948 The Treachery of Images in which a depiction of a pipe reads “This is not a pipe.” Of course it’s not a pipe, we now see: It is a depiction of a pipe. It is a picture, not the thing itself–and pictures are sim- ply sets of codes. making of a master Was Hartley’s inverted body (“invert” was a term of the time for homosexual) the body invisible? Instead of the stoic heroic, Hart- ley showed us the beauty of the young men sacrificed to work and war–recognizing beauty as the necessary backdrop for trag- edy. Hartley had admonished Crane for his dangerously unguarded cruising of the streets of New York. Straight hipsters now sometimes brag of their prowess with “gay- dar” (that ability to ‘tell’) while missing the point that remaining sufficiently coded and camouflaged was, at times, an issue of life and death. This insight may have been why Hartley was able to fully understand the deepest implications of cubism based on the idea that painterly language is a set of legi- ble codes. In other words, Hartley’s need for the body invisible may have set “the painter of Maine” precisely on the path to becom- ing America’s greatest modernist painter. n