John Marin American, 1870-1953
White Mountain Country, Autumn No. 44, Franconia Range, The Mountain No. 1, 1927
Watercolor on paper
13¾ x 21 inches
34.9 x 53.3 cm
34.9 x 53.3 cm
Signed and dated at lower right: Marin 27
Schoelkopf Gallery is the exclusive worldwide representative of the John Marin Foundation. While on one of his many sketching trips in the White Mountains, Marin wrote to Stieglitz: “If I...
Schoelkopf Gallery is the exclusive worldwide representative of the John Marin Foundation.
While on one of his many sketching trips in the White Mountains, Marin wrote to Stieglitz: “If I could only carry these mountains home with me and set them all up in my back yard. No, I hope I can say this is my great big back yard.” The comments reveal the fondness that Marin felt for the White Mountain region, and his connection to mountain forms as a primary subject for his art. For Marin, mountain scenery was interchangeable with New York City subjects as the means to explore themes of representation and abstraction. Though titled White Mountain Country, the solitary peak shown here doesn’t actually exist in the Franconia Range, but it may be an abstraction of Mt. Lafayette or Mt. Madison. The bold, calligraphic stroke of blue enlivens the composition and dramatically draws attention to the majestic scene below.
While on one of his many sketching trips in the White Mountains, Marin wrote to Stieglitz: “If I could only carry these mountains home with me and set them all up in my back yard. No, I hope I can say this is my great big back yard.” The comments reveal the fondness that Marin felt for the White Mountain region, and his connection to mountain forms as a primary subject for his art. For Marin, mountain scenery was interchangeable with New York City subjects as the means to explore themes of representation and abstraction. Though titled White Mountain Country, the solitary peak shown here doesn’t actually exist in the Franconia Range, but it may be an abstraction of Mt. Lafayette or Mt. Madison. The bold, calligraphic stroke of blue enlivens the composition and dramatically draws attention to the majestic scene below.
Provenance
The artist; to
Estate of the artist, 1953;
The John Marin Foundation, 2023 until the present
Exhibitions
Intimate Gallery, New York, John Marin, November 14-December 29, 1928, no. 44Art Institute of Chicago, Illinois, Twenty-second International Exhibition of Water Colors, May 13-August 22, 1943, no. 292
Menconi + Schoelkopf Fine Art, New York, Marin in the White Mountains, September 7-October 15, 2021
Schoelkopf Gallery, New York, Art on Paper, Summer 2024, p. 16-17, illus. in color
Literature
Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Vol. II, Tucson: University of Arizona Press, 1970, p. 585, no. 27.46, illus.
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