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John Marin (1870-1953)
On occasion, Christie’s has a direct financial int… Read more PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION 
John Marin (1870-1953)

Mid-Manhattan II

Details
John Marin (1870-1953)
Mid-Manhattan II
signed and dated 'Marin 32' (lower right)
oil on canvas
28 x 22 in. (71.1 x 55.9 cm.)
Provenance
The artist.
Estate of the artist.
An American Place, New York.
Mr. and Mrs. John C. Marin, Jr., New York and Cape Split, Maine.
The Downtown Gallery, New York.
Kennedy Galleries, New York.
Salander O'Reilly Galleries, New York.
Gerald Peters Gallery, New York.
Literature
Life, January 12, 1948, illustrated
Life, July 10, 1950, p. 66, illustrated
New York Times, February 1, 1953, illustrated
S. Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Tucson, Arizona, 1970, no. 32.23, p. 645, illustrated
Exhibited
New York, An American Place, John Marin, January 1933
Philadelphia, Pennsylvania, Pennsylvania Museum of Art, n.d.
New York, Museum of Modern Art, John Marin, Watercolors, Oil Paintings, Etchings, October 19-November 22, 1936, no. 165, p. 75
Baltmore, Maryland, The Baltimore Museum of Art, Contrasts in Impressionism: An Exhibition of Paintings by Alessandro Magnasco, Claude Monet, John Marin, November 13-December 27, 1942, no. 17, p. 29
Philadelphia, Pennsylvania, Philadelphia Museum of Art, History of an American, Alfred Stieglitz: '291' and After, Selections from the Alfred Stieglitz Collection, July-October 22, 1944, no. 229, p. 32
New York, The Downtown Gallery, Paintings and Drawings by John Marin: New York 1910-1944, August 20-September 3, 1948, no. 21, p. 11
San Francisco, California, M.H. de Young Memorial Museum, The Fine Arts Museum of San Francisco, John Marin: Oils, Watercolors, Etchings, February 15-June 12, 1949, no. 3, p. 2 (This exhibition also traveled to Santa Barbara, California, Santa Barbara Museum of Art, Los Angeles, California, Los Angeles County Museum of Art)
Trenton, New Jersey, The New Jersey State Museum, John Marin: A Retrospective Exhibition, 1921-1949, December 3, 1950-January 21, 1951, no. 27, p. 7
New York, The Downtown Gallery, Celebrating the Tercentenary of the City of New York, MDCLIII-MCMLIII, Paintings of New York by Leading American Artists, February 17-March 7, 1953, no. 19, p. 3
Minneapolis, Minnesota, Walker Art Center, The Classic Tradition in Contemporary Art, April 24-June 28, 1953, no. 77, p. 49, p. 26, illustrated
New York, Wildenstein & Co. Inc., A Special Exhibition of Paintings by American and French Modern Masters, for the Benefit of the La Napoule Art Foundation, Henry Clews Memorial, May 4-28, 1955, no. 25, p. 61
New York, Marlborough Gallery, John Marin (1870-1953), Paintings 1903-1953, March 19-April 16, 1977, no. 12, p. 4, illustrated on cover
New York, Hirschl & Adler Galleries, The Eye of Stieglitz, October 7-November 2, 1978, no. 37, p. 38, p. 84, p. 39, illustrated
Dusseldorf, Germany, Städtische Kunsthalle, Two Decades of American Painting: 1920-1940, June 10-August 12, 1979
Zurich, Switzerland, Kunsthaus Zurich
Minneapolis, Minnesota, Minneapolis Institute of Arts, 1981
Special notice

On occasion, Christie’s has a direct financial interest in lots consigned for sale. This interest may include guaranteeing a minimum price to the consignor which is secured solely by consigned property. This is such a lot.

Lot Essay

More consistently than any other American artist of the early twentieth century, John Marin captured the energy and dynamism of New York City. "Marin saw movement in his paintings not only as a sign of modernity, a means of capturing the quickening pace of life in the twentieth century. It was also for him a manifestation of the pulse and rhythm of life itself." (M.E. Ward, Richard York Gallery, Movement: Marin, New York, 2001, p. 7) The tempo of the city and its role as a center for modernist thinking were keys to Marin's immersion in its atmosphere. Starting in the late 1920s, and increasingly in the 1930s, Marin added the figural motif to his New York scenes. As evident in Mid-Manhattan II, Marin was a close observer of the shapes, spaces and rhythms created by the mass movement of people through the streets of the City.

Manhattan never lost its fascination for the artist, and throughout his life Marin revisited its panoramic stretch and diverse rhythms. He saw it as "a kind of bustling paradise and as one of the formative influences in his life. First in his watercolors and later in his oils, he observed it from many points of view and created vivid pictorial equivalents for the complex interrelation of its harsh angles, the impact of light on surfaces of glass and stone, the spatial tensions and the myriad contrasts of movement." (C.E. Buckley, John Marin in Retrospect: An Exhibition of his Oils and Watercolors, The Corcoran Gallery of Art, Washington, D.C., and The Currier Gallery of Art, Manchester, New Hampshire, p. 10)
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