Street Scene

Description

Looking west down Wall Street, Trinity Church’s purple facade and spire appear beyond the columned Federal Hall. Marin made these landmarks identifiable, adding color over his graphite sketch with broad but carefully applied strokes. He used a heavy blue pigment that settled into the low points of the paper’s surface and lightly blotted the wet blue wash at upper left, removing just enough color from the high points to accentuate the grainy pattern left behind. At lower left, he used more water, rewetting and then blotting his colors to approximate the obliterating effect of steam emanating from street vents. Using a soft, dark pencil, he outlined the structures and delineated architectural details, adding heads and shoulders to blue dabs of wash to transform them into figures.

Provenance

Alfred Stieglitz (1864–1946), New York; Stieglitz Estate (Georgia O'Keeffe (1887–1986), executor); given to the Art Institute of Chicago, 1956.

Street Scene

John Marin

1910

Accession Number

2902

Medium

Watercolor with rewetting and blotting, and graphite, on lightweight, slightly textured, off-white wove paper, laid down on ivory wove card

Dimensions

25.9 × 19.9 cm (10 1/4 × 7 7/8 in.); Secondary support: 33.7 × 27 cm (13 5/16 × 10 11/16 in.)

Classification

watercolor

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Alfred Stieglitz Collection

Background & Context

Background Story

John Marin's Street Scene (1910) is a watercolor with rewetting and blotting, and graphite, on lightweight off-white wove paper. This work captures the energy of a New York street with Marin's characteristic freedom and expressiveness. The buildings flanking the street, the figures and activity below, and the sky above are all suggested through bold watercolor washes and the experimental techniques of rewetting and blotting. The graphite adds linear definition to certain elements. The off-white wove paper provides a bright ground. Marin's street scenes are not topographical records but emotional responses to the experience of the city, capturing the sensation of being in the midst of urban energy. His technique of rewetting and blotting creates varied textures that suggest the movement and chaos of street life without describing it in detail. This work from 1910 belongs to Marin's most innovative period, when he was developing the expressive watercolor style that would make him one of the most original American artists of the 20th century.

Cultural Impact

Marin's street scenes of 1910 represent the breakthrough of American modernist watercolor, demonstrating the expressive potential of the medium in capturing the experience of modern urban life.

Why It Matters

This street scene captures the energy and movement of New York with extraordinary freedom, Marin's experimental watercolor technique conveying the vitality of the city through the expressive power of paint.