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While the frame around Nudes In Sea bears the same ivory tone Marin employed early in his career, he did not paint the flat angular section with any colors that relate to the palette of the...
Framing Profile: <em>Nudes in Sea</em>, 1940
Marin’s aesthetic concerns evolved through the 1920s, as seen in his handling of The Green Sea—Movement—Stonington, Maine, which was adhered to a gilded mount and then fitted in a spare...
Framing Profile: <em>The Green Sea—Movement—Stonington, Maine</em>, 1921
A departure from the combination of broad gilded mount and simple frame profile occurs in the handling of The Pine Tree, Small Point, Maine. On the verso of the watercolor, Marin sketched...
Framing Profile: <em>The Pine Tree, Small Point, Maine</em>, 1926
Two important variations of mounting and framing can be seen in Movement No. 23—The Sea and Pertaining Thereto and Movement No. 24—Pertaining to Deer Isle–The Road, both from 1927....
Framing Profile: <em>Movement No. 24—Pertaining to Deer Isle—The Road</em>, 1927
The frames for Valley of the Hondo, New Mexico and Mountain Forms, New Mexico depart from the flat, square design seen on most of the artist’s works from the 1910s and 1920s....
Framing Profile: <em>Valley of the Hondo, New Mexico</em>, 1930
The frame used on Ragged Island, Maine has a very simple appearance that reflects the spare styles being used in the early twentieth century, a reaction to the predominantly European...
Framing Profile: <em>Ragged Island, Maine</em>, 1914
The extension of painting activity into the frames was taken up fervently in the oil Sailboat, Brooklyn Bridge, New York Skyline. The profile here is similar to that used on the two...
Framing Profile: <em>Sailboat, Brooklyn Bridge, New York Skyline</em>, 1934
Marin’s step-frame approach appears on four of the five frames in the Art Institute’s holdings from this period, and typifies the design profile most associated with him today. This approach, as one...
Framing Profile: <em>Tree and Sea, Maine</em>, 1919
The final frame in the museum’s holdings from this period is that of Sea, Green and Brown, Maine. In this case, the artist may have felt that the slanted molding with astragals was not...
Framing Profile: <em>Sea, Green and Brown, Maine</em>, 1937
As he did for the oil Sailboat, Brooklyn Bridge, New York Skyline and many other paintings of the 1930s—particularly oils—Marin both constructed and painted the frame for Movement: Boats...
Framing Profile: <em>Movement: Boats and Objects, Blue Gray Sea</em>, 1947
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