"Looking out the Window, West Point, Maine, " John Marin, Modernist Landscape

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John Marin
"Looking out the Window, West Point, Maine, " John Marin, Modernist Landscape
1914

Name: "Looking out the Window, West Point, Maine, " John Marin, Modernist Landscape
Brand: John Marin
Rating: 5 (14 reviews)

About the Item

John Marin Looking out the Window, West Point, Maine, 1914 Signed and dated at lower right: Marin 14 // inscribed in Alfred Stieglitz's hand on an original label affixed to the reverse: Looking out the Window, Deer Isle— [sic] / Maine / by John Marin— / 1914 Watercolor and graphite on paper 19 1/2 x 15 3/4 inches Provenance: The artist An American Place, New York, circa 1935 Dorothy Norman, New York Estate of the above, 1997 Amy Wolf Fine Art, New York Private collection, Long Island Exhibited: Philadelphia Museum of Art, John Marin: Etchings and Related Works, January 17 - March 17, 1969. New York, Kraushaar Galleries, Summer Thoughts, April 26 - June 3, 2016 Literature: Downtown Gallery records, 1824-1974, Archives of American Art, Smithsonian Institution. Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Vol. II, Tucson: University of Arizona Press, 1970, p. 391, no. 14.38, illustrated (image inverted). Ruth E. Fine, John Marin, Washington, D.C.: National Gallery of Art, 1990, pp. 201, 233, illustrated p. 199. “‘Summer Thoughts’ at Kraushaar Galleries,” Antiques and the Arts Weekly, May 6, 2016, p. 22. Painted in 1914, the present work dates to Marin’s first summer in Maine, and features the view from the cottage he and his new wife Marie occupied on West Point. The practice of capturing the Maine landscape from the interior of a home was later used by Fairfield Porter and Lois Dodd. Marin was encouraged to visit Maine by the artist Ernest Haskell, and the summer of 1914 was one of his most prolific up until that date—he produced about 100 paintings as he applied his innovative watercolor practice to the inspiring new subject matter. The 1910s were an important decade for Marin as he emerged as a leading figure in the modernist movement in America. He had his first solo exhibition at Alfred Stieglitz’s 291 gallery in 1910, and participated in the most avant-garde exhibitions of the decade: the Armory Show (1913) and the Forum Exhibition of Modern American painters (1916). During this decade, Marin discovered the New York City skyline and the Maine coastline, the subject that would define his artistic output throughout his career. Looking Out the Window is among Marin’s earliest examples in watercolor of focusing on the outer edges of his work and using internal framing devices to enclose the image—a technique that he would further develop in the 1920s. In this instance, he used the window’s mullions to define four separate views. Ruth Fine connects Marin’s experimentation with internal framing devices to his printmaking technique that involved inking the plate’s bevel edge to control the edges of an image A major figure in early twentieth-century modernism, John Marin captured the colliding energies of the American urban scene and the vibrant contrasts of natural elements in the coastal landscape of Maine and other countryside locales. As one of the premier watercolorists of his era, Marin developed a light, spontaneous style ideally suited to conveying the freshness and flux of city and country experience -- his watercolors are often considered to match in strength those created by Winslow Homer in previous century. At the same time, Marin's sensitivity to mass, form, color, and line and their dynamic interchanges provided a precedent for the Abstract Expressionist movement of the late 1950s. Marin was born in Rutherford, New Jersey, to a family of European descent. After studying mechanical drawing and mathematics for half a year at the Stevens Institute of Technology in New York, Marin worked as a draftsman for several architects. It was not until he was almost thirty years old that he began to study art. He enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901, and at the Art Students League in New York from 1901 to 1903, where his teachers were William Merritt Chase and Frank Vincent Dumond. While Marin was attending the League, the radical ideas of Arthur Wesley Dow were being disseminated and had an impact on the direction Marin would soon take in his art. Marin left for Europe in 1905. The next five years, which he spent abroad, were of tremendous importance to his career. He became a significant figure in the expatriate community in Paris, frequenting the Dôme, a café that served as a meeting place for artists and writers. While in Europe, Marin visited the Louvre and the Rijksmuseum in Amsterdam and, despite his claims that he had been indifferent to the Paris art world, he undoubtedly became aware of the art of Paul Cézanne and Henri Matisse. The works Marin created in Europe most strongly reflect the influence of James McNeill Whistler, especially the pastels he rendered in Venice. In the summer of 1909, Marin met Alfred Stieglitz in Paris. In February of the next year, Marin's work was shown along with that of Alfred Maurer at Stieglitz's gallery, 291. After returning to America in the following year, Marin became one of the most consistent members of Stieglitz's inner circle, showing at all three of his galleries -- 291, The Intimate Gallery, and An American Place. After 1910, Marin developed the routine that he would follow for the rest of his life, creating paintings, drawings, and prints in New York City and surrounding areas during the winter, and in the summer, traveling to the country, where he focused on the particular characteristics of the regions that he visited. He worked mainly in watercolor until 1928, when he began also to use oil. Marin never became purely abstract. He formulated a unique style melding influences of the art of the French Fauves, Cézanne, Matisse, and the French Cubists with a personal style of luminescent colors, agile brushwork, and a simultaneously delicate and strong handling. In city views, he used broken lines, a light touch, fluid color, and rhythmic compositions to convey what he described as the "great forces at work." He expressed the warring of the great and the small through relationships between masses. As he said, he sought to express the "pull forces" of the modern urban scene. Often portraying the new tall buildings of New York seen in the midst of radiating, fragmented forms of city and sky, he conveyed the hectic forces and explosive growth and promise of America. His images of the Woolworth building, in particular, suggest the incredible defiance of gravity achieved by the modern skyscraper. Using plunging sight lines and Cubist multi-perspectives, in his views of buildings, bridges, and other urban architectural forms, Marin created vivid pictorial equivalents of the American city of the early twentieth century. In 1914, Marin discovered the other subject that would dominate his art. As had Homer and many other American artists, he was compelled by the natural and untouched beauty of the Maine coast. The works he created over the course of many Maine summers express dynamic relations of ground, trees, water, clouds, and sky. Conveying the tension between the fluid forms of nature and the structures of art, he imposed order on his landscapes and reinforced his picture planes, while conveying the character of his sites. New Mexico was another locale that drew Marin's attention. On a number of sojourns, he captured the stark grandeur of the countryside around Taos. Marin received widespread acclaim during his life and posthumously. The Metropolitan Museum of Art and the Museum of Modern Art had solo shows of his art in 1924 and 1936. The Institute of Contemporary Art in Boston organized a traveling retrospective in 1947. The Los Angeles County Museum of Art held a major Marin show in 1970-1971, and in 1990, a large retrospective was held at the National Gallery of Art in Washington, D.C. Marin's work may be found in important private and public collections across the country including the National Gallery of Art, Washington, D.C., the Museum of Modern Art, New York; the Art Institute of Chicago; the Philadelphia Museum of Art; the Metropolitan Museum of Art, New York; Harvard University Art Museums, Cambridge, Massachusetts; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Colby College Museum of Art, Waterville, Maine; Terra Museum of American Art, Chicago; the Munson-Williams-Proctor Institute, Utica, New York; the Phillips Collection, Washington, D.C.; the Wichita Art Museum, Kansas; the Detroit Institute of Art; the Albright-Knox Art Gallery, Buffalo, New York; the Whitney Museum of American Art, New York; and the Museum of Fine Arts, Boston.

Creator:
John Marin (1870-1953, American)
Creation Year:
1914
Dimensions:
Height: 23.5 in (59.69 cm)Width: 19.5 in (49.53 cm)
Medium:
Paper,Watercolor,Graphite
Movement & Style:
Modern
Period:
1910-1919
Condition:
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1841211694732

Shop All John Marin

John Marin

John Marin was born in Rutherford, New Jersey in 1870. His father was a public accountant; his mother died nine days after his birth. He was taken to his maternal grandparents with whom he lived in Weehawken, New Jersey. His grandparents, with their son and two daughters were the only parents Marin was to know; it has been suggested that his father seems to have ignored him. As a child of seven or eight Marin began to sketch and when he was a teenager he had completed his earliest watercolors. His education in the schools of New Jersey was interspersed with summers of hunting, fishing and sketching; he traveled in the Catskills, and as far away as Wisconsin and Minnesota. But formal training was almost incidental to his development as an artist. He is to America what Paul Cezanne was to France - an innovator who helped to oppose the influence of the narrative painters, the illustrators who were more interested in subject than form, in surface than substance. Marin brought to his work a combination of values which, at the turn of the century, was unique in this country: an aliveness of touch, colors that have both sparkle and solidity, and forms that are vibrant with an energy characteristic of our age. Marin established himself as a practicing architect. In the early 1890s, he worked for four architects and by 1893 had designed six houses in Union Hill, New Jersey. At the age of twenty-eight, he decided to become a professional artist and studied briefly at the Pennsylvania Academy of Fine Arts in Philadelphia and the Art Students League in New York City. As a watercolorist he had no equal. He used this fluid, spontaneous medium to abstract from objects - skyscrapers, boats, mountains and seas - a simplified anatomy of color and form and to define the pulsation of stresses and movements in the relationship of objects. It was a great disappointment, all his life, that his oil paintings did not achieve the popularity that his watercolors did. From 1905 to 1910 he worked in Europe, where he was influenced by Whistler's watercolors. It was Alfred Stieglitz, Marin's lifetime friend and dealer, whose firm faith in his genius made his position in the art world possible. He developed a distinctive style that he used most characteristically in powerful watercolors of the Maine coast. During the 1920s he provided the dominant force in the movement away from naturalistic representation towards an art of expressive semi-abstraction. He married Marie Jane Hughes after he returned to New York. They had one son, who grew up to run his father's considerable affairs. Marin continued to work at the same steady fast pace as long as he lived. Since 1908 he had produced 1700 paintings, an average of forty a year. He had made the frames for them as well. At the age of seventy-nine, he began to taper off from the days when he painted one hundred watercolors in a summer. He died in 1953.

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"Sheepshead, Brooklyn, Long Island" Oscar Bluemner, Modernist Watercolor, 1907

Louis Wolchonok
"Gondolas at the Dock, Venice, Italy" Louis Wolchonok, Boats in the Harbor Scene, 1928

Max Kuehne
"Train Station, " Max Kuehne, Industrial City Scene, American Impressionism, circa 1910

Shamona Stokes
Gift, 2020, watercolor, oil pastel, pink, orange, rabbit, ink, fantasy, 2020

Shamona Stokes
Hopeful Spring, 2020, watercolor, oil pastel, green, landscape, fantasy, trees, 2020

Eunice Katz
1950s Denver Skyline Painting – Graphite & Watercolor Colorado Cityscape Art, 1950s

Leonard Machin Rowe
Mid 20th Century, Belgium, A Brussels Street Scene, 1950's

Henri Miloch
Ecole de Paris Mid 20th Century Paris: Atelier Studio French Watercolour, 1940's

Leonard Machin Rowe
Mid 20th Century, Wales, Caernarfon Castle, 1950's