Word: mariners
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Dates: during 1950-1959
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...entries were among the hardest to decipher. John Marin's seascape sketches and Karl Knaths's penciled still lifes seemed little more than shorthand notes made for the artists' convenience...
...exhibit as a whole showed once again that realism in the U.S., as in Europe, has been on the wane for the last 50 years. Before the turn of the century, Albert Pinkham Ryder was laughed at for his dreamy, semi-abstract seascapes. Successors such as John Marin made abstraction an important part of U.S. art history, and today it is the language of hundreds of young American painters...
Portugal, Ireland, Brazil, South Africa and Colombia were all on hand for the first time. Germany and Yugoslavia (but none of the Soviet satellites) were back for the first time since the war. From the U.S. had come a retrospective showing of 48 paintings by Seascapist John Marin, along with samplings of six younger-and lesser-U.S. artists (TIME, June 12). Surveying that bewildering array, one British critic moaned: "They have collected too much art. Too many impressions are fighting each other...
...pavilion's better half was devoted to John Marin, a wry, shy old crow of a man who paints nature as knowingly as Winslow Homer and with even greater freedom (TIME, Jan. 9). As Washington's Duncan Phillips put it in the exhibition catalogue, Marin "is one of the most gifted and important painters since Cezanne and perhaps the best of all masters of watercolor. An individualist and mostly self-taught and indifferent to theories, he sought at the outset of his career for abbreviated personal symbols of color and line-a green triangle for a pine...
Barr and Frankfurter had picked examples of the latest U.S. art fashions to export to Venice. Old John Marin, who sniffs at both abstractionism and expressionism, was the one painter in the U.S. pavilion whose reputation would clearly survive fashion...