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John Marin's watercolors : a medium for modernism / Martha Tedeschi with Kristi Dahm ; with contributions by Ruth Fine and Charles Pietraszewski, and Christine Conniff-O'Shea.

by Art Institute of Chicago.

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Chicago : Art Institute of Chicago ; New Haven : distributed by Yale University Press, c2010.

Marin, John, 1870-1953 -- Exhibitions.

Art Institute of Chicago -- Exhibitions.

Watercolor painting -- Illinois -- Chicago -- Exhibitions.

9780300166378 (hbk.) :

0300166370 (hbk.)

192 p. : ill. (some col.) ; 26 x 29 cm.

John Marin's loaded brush : orchestrating the modern American watercolor / Martha Tedeschi -- Playing around with paint : John Marin's evolving watercolor technique / Kristi Dahm -- Part of the picture : the power of the frame in John Marin's watercolors / Charles Pietraszewski and Christine Conniff-O'Shea -- A departure--freedom : the impact of Europe, 1905-10 / Martha Tedeschi -- Great forces at work : John Marin's New York / Martha Tedeschi -- The border of the sea : John Marin and Maine, 1914-32 / Martha Tedeschi -- The painter man's dream : Cape Split and other subjects, 1932-53 / Martha Tedeschi.

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. --Book Jacket.

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