The Last of New England—The Beginning of New Mexico 1918 - 1919

Editor: So, this is Marsden Hartley's "The Last of New England—The Beginning of New Mexico," painted between 1918 and 1919. Looking at it, the first thing that strikes me is this incredible push and pull between a really raw, almost geometric, structure, and the flowing, undulating landscape. What do you see in it? Curator: It’s like Hartley’s bidding farewell to one world and eagerly embracing another, isn’t it? The starkness of those upright fence posts contrasts dramatically with the rounded hills—almost a barrier, a threshold. He seems to be grappling with this tension of leaving the familiar behind and venturing into the unknown. You get that sense of longing, tinged with a certain trepidation. Almost like waiting on an adventure… are you drawn to any specific area? Editor: The way he renders those clouds is captivating. They're so substantial, almost sculpted, but they also feel ephemeral, like they could dissipate at any moment. How do they relate to the broader themes of transition that you mentioned? Curator: Think of clouds as symbols – representing change, the passage of time, but also dreams. The solidity you mentioned suggests maybe this journey isn’t just physical for Hartley; it’s also internal. New Mexico likely stirred up a wellspring of fresh ideas, a whole new canvas for his artistic and, more importantly, his spiritual expression. Could it be that in a way, those big clouds are both his memories, and his dreams about a place far off? Editor: It’s interesting to consider his painting like that. It seems he left so much of himself there on that canvas, making it seem both profoundly personal and yet universal, touching on themes we can all understand. Curator: Absolutely, art invites conversation, even across a century! And maybe a bit of introspection too.