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During his 83 years of life. Painter John Marin knew both popular and critical acclaim, but there were times when he felt a touch of bitterness. While the public and critics applauded his fluid watercolors, his oils were so assiduously ignored that Marin used to refer to his ever-increasing stock of unsold canvases as his "Dark Room Collection." Since his death in 1953. admirers have been trying to focus more light on the dark room. Their efforts came to a climax last week with the opening of a major Marin retrospective at the Corcoran Gallery in Washington...

Author: /time Magazine | Title: Art: Out of the Dark Room | 3/16/1962 | See Source »

...many ways, it took Marin 40 years to find himself. Raised by two maiden aunts in Weehawken. N.J. (his mother died nine days after his birth), he attended Stevens Institute of Technology for a year, drifted from job to job, spent six frustrating years trying to turn himself into an architect. Finally, he went to Paris to study art-and in 1909 had the luck to meet Photographer Edward Steichen. As soon as Steichen got back to Manhattan, he showed a few Marin watercolors to his old friend Alfred Stieglitz, whose now legendary gallery was the first to show such...

Author: /time Magazine | Title: Art: Out of the Dark Room | 3/16/1962 | See Source »

Golf Inside a Prism. In his early work, Marin seemed under the influence of Whistler, but he quickly acquired a stamp wholly his own. He was fascinated by force, energy, bustle and movement, and this obsession dictated a fresh technique...

Author: /time Magazine | Title: Art: Out of the Dark Room | 3/16/1962 | See Source »

...smooth surface of his watercolors began to crumple into fragments, as if each scene he painted had jumped inside a prism. Everything was recognizable, but everything was also slightly out of place, tipped or distorted to give a sense of motion. Of his watercolors, Marin insisted: "Painting is like golf; the fewer the strokes I take, the better the picture." But for all its spontaneity and frugality, the watercolor sometimes seemed too delicate...

Author: /time Magazine | Title: Art: Out of the Dark Room | 3/16/1962 | See Source »

...could catch a breeze or a mist; a storm demanded something more robust. The oils to which Marin turned retained the fluidity of his watercolors, but they often achieved a deeper intensity...

Author: /time Magazine | Title: Art: Out of the Dark Room | 3/16/1962 | See Source »

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