Dan's Papers - June 19, 2009 - Honoring the Artist : John Marin

While we can't dare imagine how cover artist John Marin might respond to our questions if he were alive, we can respond to his own work, which is very much alive and thriving.

This week's cover, called "Sea and Beach," was painted in 1932 and is "pure" Marin - an image that immediately recalls his abstract style and signature Maine locale. (The setting isn't an unusual choice, since Marin spent part of every year in Maine starting in 1914.) But, at least for this critic, Marin's work is defined by other aspects, including the suggestion of Expressionism. Perhaps it's the brushwork or the establishment of a mysterious, even mythic, tone that extends the style beyond abstraction.

Even though the work's medium is oil, Marin was also known for his watercolors. According to Bernard Goldberg, owner of Bernard Goldberg Fine Arts in both New York and East Hampton, Marin once sat in a boat and made 24 watercolors at the rate of one per minute.

Marin's varied background and artistic training were rich in influences, including his study at the Pennsylvania Academy of the Fine Arts (from 1899 to 1901) and places in Europe. Well-known artists also provided important inspiration, like Edward Steichen and Alfred Stieglitz. Later, Marin's showings at Stieglitz's two New York galleries ensured his success.

In addition to "Sea and Beach," other work painted in the 1920s and '30s captured Maine as well. Consider an early image, "Deer Isle" (1926), that's not a seascape but rather a large home. The view may be different, but the hint of Expressionism is still apparent.

A later piece called "Morse Mountain" (1928) had a different perspective, seen from a bird's-eye-view. (Such a view became a familiar element in Marin's work as well.)

During the early 1930s, Marin's images were "exclusively" in oil and most were Maine seascapes. His first show of these oils was at Stieglitz's An American Place Gallery in Manhattan. We can only imagine what these specific works were, but judging from Marin's other pieces during this period, they were probably consistent with his mixed style and bird's-eye-views.

Some variations are present, however. Consider a work like "No.8 Winter" (1930-1931) where another season is featured. The spots of snow on the landscape create a patchwork that is charming and unique. "By the Sea" (1934) is done in a monochromatic grey, again another variation on Marin's usual "sea" colors. What is most unusual for this critic are the works of New York done in the 1930s, including "Mid-Manhattan" (1932) and "Mid-Manhattan 11" (1932). Here we see a subtle move away from Expressionism as more geometric forms of buildings come into play. There is still the bird's-eye-view, which gives Manhattan that feeling of power. Come to think of it, Expressionism (in film, at least) also featured bird's-eye perspectives. Thus, Marin still maintained this style.

Since his death in 1953, Marin's reputation has stood the test of time through the years. Mor importantly, his works have continued to define American modernism.

John Marin's work may be seen at Bernard Goldberg Fine Arts in East Hampton at Main Street and Newtown Lane.