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John Marin's Watercolors ─ A Medium for Modernism
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American modernist John Marin (1870-1953) worked prolifically in watercolor, etching, and oil during a career that spanned more than 50 years. It was the medium of watercolor, however, that encouraged him in his development of a bold, original style that is both contemporary and authentically American. Marin's improvisational approach to color, paint handling, perspective, and movement situated him as a leading figure in modern art and helped influence the Abstract Expressionist movement.
John Marin's Watercolors in the first book to present the Art Institute of Chicago's impressive collection of his works in its entirety, ranging from early images rooted in traditional practice to more experimental compositions. It explores the artist's working method, his modernist vision as it developed through etching and into watercolor, and his intuitive investigation of the inherent properties of the medium to craft a new, avant-garde methodology. The works are organized chronologically and grouped according to the sites where they were painted, including New York City, France and the Tyrol, the Maine coastline, and the New Mexico desert.
This book also illuminates how Marin, who had a strong interest in the presentation of his watercolors, chose frames and mounts for each work. Legendary photographer, dealer, and collector Alfred Stieglitz bequeathed a significant number of Marin's frames and mounts, along with some forty watercolors, to the Art Institute, and the authors examine Marin's and Stieglitz's attitudes toward the presentation of art.
John Marin's Watercolors in the first book to present the Art Institute of Chicago's impressive collection of his works in its entirety, ranging from early images rooted in traditional practice to more experimental compositions. It explores the artist's working method, his modernist vision as it developed through etching and into watercolor, and his intuitive investigation of the inherent properties of the medium to craft a new, avant-garde methodology. The works are organized chronologically and grouped according to the sites where they were painted, including New York City, France and the Tyrol, the Maine coastline, and the New Mexico desert.
This book also illuminates how Marin, who had a strong interest in the presentation of his watercolors, chose frames and mounts for each work. Legendary photographer, dealer, and collector Alfred Stieglitz bequeathed a significant number of Marin's frames and mounts, along with some forty watercolors, to the Art Institute, and the authors examine Marin's and Stieglitz's attitudes toward the presentation of art.
作者簡介
Martha Tedeschi is Curator in the Department of Prints and Drawings and Kristi Dahm is Assistant Conservator of Prints and Drawings, both at the Art Institute of Chicago. Ruth Fine is Curator for Special Projects in Modern Art at the National Gallery of Art in Washington, D.C. Charles Pietraszewski is Frame Conservation Technician and Christine Conniff-O'Shea is Assistant Conservator for Preparation and Framing, both at the Art Institute of Chicago.
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