In this groundbreaking watercolor, the spire of Saint Patrick’s Cathedral appears on the left, and the Forty- Fourth Street clock is on the right. To communicate his excitement over the buildings, Marin aggressively blotted and reapplied color to build up tonal planes. Combining staccato marks to denote windows with soft, wet applications in the sky, he added long vertical stokes conveying the upward lift of the structures. Making the road in the foreground arc up as if the earth itself were heaving, he surrounded the dark blue patches and lines with slivers of bright white paper. Overhead, the pink rays of the sun, like the hands of the clock, leave the unmistakable impression of New York at midmorning.
Date
Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Emanuel M. Benson, American Magazine of Art (October 1935), p. 603 (ill.).
Emanuel M. Benson, John Marin (Washington 1935), p. 29.
American Magazine of Art, XXVIII (October 1935), p. 603 (ill.).
The Art Institute of Chicago Bulletin, XLIII (November 15, 1949), p. 69 (ill.).
Masterpieces in The Art Institute of Chicago (Chicago, 1952), n.p.
Sheldon Reich, John Marin, Part II: Catalogue Raisonné (Tucson, Ariz., 1970), p. 367, no. 12.39 (ill).
Deborah Bricker Balken, John Marin’s Berkshire Landscapes (Pittsfield, MA: The Berkshire Museum, 1985), n.p., fig. 4.
Donna M. Cassidy. “John Marin’s Dancing Nudes by the Seashore: Images of the New Eve,” Smithsonian Studies in American Art, vol. 4, no. 1 (Winter, 1990), p. 71.
Janice Glover Lehmberg and Ruthie Knapp, OFF THE WALL MUSEUM GUIDES FOR KIDS MODERN ART (Davis Publications Inc., 2000), U.S. rights, English language, print run 7,500.
Special issue of TIME MAGAZINE on AMERICAN VISIONS by Robert Hughes, May 28, 1997. Circulation of 4 million copies. Worldwide distribution in the English language.
Thomas Bender, CITY CULTURE: NEW YORK AND THE IDEA OF METROPOLITAN CULTURE, 2002, world rights, English language, print run 11,000.
Patricia McDonnell, “Portrait of Berlin: Marsden Hartley and Urban Modernity in Expressionist Berlin”,
Kornhauser, Elizabeth, ed. MARSDEN HARTLEY retorspective catalogue, 2002, Yale University Press, world rights, all languages, print run 3000.
Elizabeth Mankin Kornhauser, MARSDEN HARTLEY, exhibition catalogue, 2003, World rights, English language, print run 8,000.
Judith A. Barter, Sarah E. Kelly, Denise Mahoney, Ellen E. Roberts, and Brandon K. Ruud, American Modernism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2009), pp. 47-9, cat. 4 (color ill.).
Judith A. Barter et al., “American Modernism at the Art Institute of Chicago, From World War I to 1955,” (Art Institute of Chicago/Yale University Press, 2009), cat. 4.
Karen Wilkin, “Art: John Marin in Chicago” (review), The New Criterion 29, no. 7 (March 2011), p. 47 (not repro).
John B. Reinhardt, “Art Beat: John Marin’s Watercolors: A Medium for Modernism,” Chicago Critic (blog), March 13, 2011, accessed May 2, 2011, http://chicagocritic.com/john-marin%E2%80%99s-watercolors-a-medium-for-modernism/ (not repro).
Hedy Weiss, “John Marin —Watercolors a vivid world portrait at Art Institute of Chicago” Chicago SunTimes (April 28, 2011), accessed May 2, 2011, http://www.suntimes.com/entertainment/3507159-452/story.html (not repro).
Los Angeles, University of Callifornia, Los Angeles Art Galleries, “John Marin: Memorial Exhibition,” 1955-1956, cat. 7 (ill.); traveled.
London, Arts Council of Greeat Britain, “John Marin,” Sept. 22-Oct. 20, 1956, cat. 39.
Tucson, Ariz., University of Arizona, Art Gallery, “John Marin, 1870-1953,” Feb. 9-Mar. 10, 1963, cat. 17.
Paris, Musee National D’Art Moderne, “Paris-New York,” end May-mid-Sept. 1977, p. 251 (ill.).
Flushing, NY, The Queens Museum, “New Society of American Artists in Paris, 1908-1912,” Feb. 1-Apr. 6, 1986; also Evanston, IL, Terra Museum of American Art, May 2-June 20, 1986.
Manitoba, Canada, Winnipeg Art Gallery, “1912: The Break-Up of Tradition,” Aug. 6-Oct. 4, 1987.
Art Institute of Chicago, “John Marin’s Watercolors: A Medium for Modernism,” Jan. 19-Apr. 17, 2011, pp. 42, 48, 98 (detail), 110, 113-14, pl. 38; traveled to the High Museum, Atlanta, June 26-Sept. 11, 2011.
Alfred Stieglitz (1864–1946), New York; Stieglitz Estate (Georgia O’Keeffe (1887–1986), executor); given to the Art Institute of Chicago, 1949.
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