GENERAL DESCRIPTION
The following essay is from the 1982 publication Dallas Collects American Paintings: Colonial to Early Modern: An Exhibition of Paintings from Private Collections in Dallas.
Born in Rutherford, New Jersey, John Marin's early training was architectural, with one year at the Stevens Institute of Technology in Hoboken and four years as an architectural draughtsman. In 1899 he began studies at the Pennsylvania Academy and in 1901 switched to the Art Students League, New York. Most of 1905-1911 he spent in Europe although he was unaffected by the most radical European trends and continued working in a Post-Impressionist/Fauvist style, mostly in watercolor. In Paris in 1908 he met Edward Steichen who arranged his first show at Stieglitz's "291" gallery, and one year later he met Stieglitz himself who remained a lifelong friend and supporter. Back in the States, he lived first in Brooklyn and from 1916 in Cliffside, New Jersey, usually summering in New England. An introduction to Paul Cezanne's work in the early teens helped crystallize his own distinctly personal style, in which shifting impressions, lines of force, and a quasi-Cubistic framework are merged in light and energy-filled views most typically of coastal scenes and Manhattan architecture. The pulsing vitality of the city and the powerful rhythms of the Maine coast became his primary subjects, treated in a style that verges on abstraction but remains attentive to specific visual experience. Marin continued to show with Stieglitz and was given a retrospective at the Museum of Modern Art in 1936. His art remained essentially independent and consistent the rest of his career, offering an exemplum of the reinterpretation of European influences in a distinctly American style.
Excerpt from
Steven A. Nash, "John Marin (1870-1953)", in Dallas Collects American Paintings: Colonial to Early Modern: an exhibition of paintings from private collections in Dallas, ed. Robert V. Rozelle (Dallas, TX: Dallas Museum of Fine Arts, 1982), 127.
NOTES
John Marin, solitary and self-sufficient, lived his life far removed from the artistic "isms" and manifestos of our time. Born in 1870, he was twenty-eight before he settled on art as a career. Early essays were of his native New Jersey and environs - self-taught but observant notations in a style he was later to develop. A trip to Paris (1905-1911) produced watercolors and etchings in the traditions of Whistler and the impressionists, though he soon invented quick and illusive strokes of his own. But it was only when Marin returned to New York - to the fresh impact of his own country - that he settled upon his highly personal and original method of self-expression. He discovered Maine, then, his spiritual home, and settled upon a set of symbols, never static, rarely banal, always personal, with which he continued his work.
Unperturbed by details, he hoped only to capture the pure essence of the scene that confronted him, and he caught it in a few bold strokes. Irritated by the monotony of the rectangular frame, he enclosed his pictures with more suitable shapes in paint. He died in 1953, taking from Nature and the depths of his own perceptions the ingredients of his art.
Excerpt from
Abstract by Choice, DMCA, 1957
ASSOCIATED CONTENT CHUNKS
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
set operator as or
apply to objects where constituent_id equals 3148
apply to constituents where id equals 3148
Category
rules_operator
OR
General Description
The following essay is from the 1982 publication Dallas Collects American Paintings: Colonial to Early Modern: An Exhibition of Paintings from Private Collections in Dallas.
Born in Rutherford, New Jersey, John Marin's early training was architectural, with one year at the Stevens Institute of Technology in Hoboken and four years as an architectural draughtsman. In 1899 he began studies at the Pennsylvania Academy and in 1901 switched to the Art Students League, New York. Most of 1905-1911 he spent in Europe although he was unaffected by the most radical European trends and continued working in a Post-Impressionist/Fauvist style, mostly in watercolor. In Paris in 1908 he met Edward Steichen who arranged his first show at Stieglitz's "291" gallery, and one year later he met Stieglitz himself who remained a lifelong friend and supporter. Back in the States, he lived first in Brooklyn and from 1916 in Cliffside, New Jersey, usually summering in New England. An introduction to Paul Cezanne's work in the early teens helped crystallize his own distinctly personal style, in which shifting impressions, lines of force, and a quasi-Cubistic framework are merged in light and energy-filled views most typically of coastal scenes and Manhattan architecture. The pulsing vitality of the city and the powerful rhythms of the Maine coast became his primary subjects, treated in a style that verges on abstraction but remains attentive to specific visual experience. Marin continued to show with Stieglitz and was given a retrospective at the Museum of Modern Art in 1936. His art remained essentially independent and consistent the rest of his career, offering an exemplum of the reinterpretation of European influences in a distinctly American style.
Excerpt from
Steven A. Nash, "John Marin (1870-1953)", in Dallas Collects American Paintings: Colonial to Early Modern: an exhibition of paintings from private collections in Dallas, ed. Robert V. Rozelle (Dallas, TX: Dallas Museum of Fine Arts, 1982), 127.
Fun Facts
Archival Resources
Web Resources
Notes
John Marin, solitary and self-sufficient, lived his life far removed from the artistic "isms" and manifestos of our time. Born in 1870, he was twenty-eight before he settled on art as a career. Early essays were of his native New Jersey and environs - self-taught but observant notations in a style he was later to develop. A trip to Paris (1905-1911) produced watercolors and etchings in the traditions of Whistler and the impressionists, though he soon invented quick and illusive strokes of his own. But it was only when Marin returned to New York - to the fresh impact of his own country - that he settled upon his highly personal and original method of self-expression. He discovered Maine, then, his spiritual home, and settled upon a set of symbols, never static, rarely banal, always personal, with which he continued his work.
Unperturbed by details, he hoped only to capture the pure essence of the scene that confronted him, and he caught it in a few bold strokes. Irritated by the monotony of the rectangular frame, he enclosed his pictures with more suitable shapes in paint. He died in 1953, taking from Nature and the depths of his own perceptions the ingredients of his art.
Excerpt from
Abstract by Choice, DMCA, 1957
rules
Apply To
Constituents
id
Equals
3148
source file
artists_and_designers-0133.xml.nores