John (Anthony) Hartell  (1902 - 1995)

John Hartell Exhibitions
John Hartell exhibited at the Kraushaar Gallery in Mar., 1943
Oct., 1945
June, 1961
For records of this see

http://www.aaa.si.edu/collections/findingaids/kraugall.htm

These records are 100[%] real and are posted by the Smithsonian, since the Kraushaar Gallery is one a very important American Gallery. Also, there are records at the website previously mentioned about a correspondence John Hartell had with the Gallery owner. Scroll down the list of outgoing letters and incoming letters and look for letters dated between 1942 and 1949 under the letter H and you will find a few letters. All of these are records of John Hartell's amazing history and if you don't believe these please view the John Hartell Gallery website at the University of Cornell:

http://www.aap.cornell.edu/aapweb/galleries/galleries-past-exhibits/galleries-past-exhibits.htm

John Hartell Biography
If you are curious about this artist here is his biography obtained from a gallery selling one of his peices:

JOHN HARTELL

John Hartell was born in Brooklyn in 1902. He received a bachelors
degree in architecture in 1925 from Cornell University and a
fellowship for graduate study at the Royal Academy of Fine Arts in
Stockholm. He had been painting and drawing all along and continued to
do so during the next forty years while teaching architecture at
Clemson College and the University of Illinois and, after 1930, at
Cornell where he taught art as well. During that period he was
commissioned to design a number of residences and worked with a New
York architect on buildings for the World's Fair of 1939. Since his
retirement from Cornell in 1968, he has been painting full time. Much
of his imagery comes from the lakes and woods of upstate New York,
where he lives, and from eastern Long Island which he knew as a boy.
Hartell's work has been exhibited nationally in museums and galleries
since the 1940s. His earliest paintings, labeled "American Objectivist"
by ArtNews editor, Alfred M. Frankfurter in 1937, had a sturdy,
constructed look reminiscent of the American regionalists and
precisionists. During the forties and fifties, the study of French
modernists, cubists, and particularly Vuillard, directed his art
toward a freer, less stylized approach. By the late fifties, the
figures had dissolved into the landscape as Hartell's work became
increasingly abstract.
The paintings of the late fifties and sixties reduced landscape to its
essential forms. Land forms and reflections, which were put down
without outline, were held together by soft horizon lines. Color became
important, not in a literal way, but to create atmosphere and space
while the subtle tonal variations produced a vibrating, shimmering
surface. A stay in Greece in the 1970s resulted in a series of
paintings called Fragments, which refer to ancient architecture and
archaeological sites, and the following series, Passage, both of which
continue and develop his interest in that area. His next series,
Studio, was based on interiors and also reintroduced the figure into
his work in such a way that they became part of the space and part of
the experience which is transferred from artist to viewer.
The artist has said that his paintings are not of or about a specific
site. They are all executed in his studio without reference to
sketches or models. In his current paintings, Hartell is very much
concerned with color and light; how they reveal the material things in
the space, whether it is a salt water landscape or a domestic interior.
The figures that emerge may be engaged in casual activities, but the
range of color and the shimmering quality of the light create an
otherworldly effect. They are intended to recreate a feeling or
experience for the viewer and invite him to bring his own perceptions
to the work. Hartell attempts to give shape to those things which are
least substantial: light, atmosphere and memory.
John Hartell died at his home in Ithaca, New York in 1995.