John Marin ceaselessly explored various abstract forms and methods of generating them. He continually played with shape, color, line, and the innumerable ways to commit them to paper or canvas, challenging the limits of representation while maintaining a link to direct observation in nature. As evidenced by Blue, Red and Ivory, for a brief period in the late 1930s to mid-1940s, Marin incorporated abstract geometric and biomorphic shapes into his skies as he experimented with suspended planes. The present painting evokes an alternate interpretation of the celestial motifs so frequent across Marin’s oeuvre and demonstrates how he pushed the boundaries of representation and abstraction.