Word: marination
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...event, Marin's immediate posterity did not treat him kindly, and his reputation slipped after his death. The U.S. public was, understandably perhaps, far more interested in the New York School, which had rewritten the terms of international art, than in Marin, who had not. To celebrate the 100th anniversary of Marin's birth in 1870, the Los Angeles County Museum has assembled a full-dress retrospective of his work (more than 150 oils, watercolors and drawings), which opens this week at New York's Whitney Museum. It offers fresh insights on this persistently underrated artist...
Written Paint. With hindsight, it is difficult to look at the broad, loosely brushed planes of primary color in Marin's watercolor of 1921, Red and Green and Blue-Autumn, without thinking of Philip Guston or Hans Hofmann; and Marin's Cape Split. Maine, with its fuzzy-edged, vibrating and organic shapes held together by tense flicks of line, equally suggests Gorky or the early De Kooning. Near the end of his life, Marin was almost literally writing the paint onto his canvases -his own title for a 1950 oil was The Written Sea-with an immediacy...
...judicious editing it would be easy to turn Marin into a founding father of Abstract Expressionism, were it not for the inconvenient detail that he viewed all abstract art with crusty disdain. Reality-the flicker of bronze light on autumnal trees, the long profile of a beach in White Waves on Sand, Maine, the arches and pylons of Brooklyn Bridge, the scud and sough of an Atlantic sou'wester-was obdurate and irreducible for Marin, and had always to be returned to, loved, and above all, declared...
...strategic ploy) to act the salty curmudgeon when other artists were discussed. Most French painting he professed to ignore. "I saw a painting of a boat by Manet-to me it was a joke -to me Manet didn't know boats -didn't know the sea." Marin did, however, admire Boudin, the 19th century painter of seascapes and beach resorts-"He knew his boats." Indeed, there is more than a passing resemblance of spirit between Boudin's windswept promenades and sails leaning on empty horizons, and the magnificent succession of Maine seascapes for which Marin is best...
...until his return to New York and his marriage to Marie Jane Hughes that Marin took possession of his freedom as a painter. The Manhattan watercolors of 1911-13, with their thrust, chop and bustle of tower, facade and street, are a peculiarly American reaction to that delight in the tempos of urban life that, at the same moment, had seized the Cubists in Paris and the Futurists in Italy. It was a web of movement, great and small, that he would pursue for the rest of his career, and he described it with his usual laconic concreteness. "In life...