Artworks · John Marin

Approaching Fog

1952 · Watercolor with blotting, wiping and traces of scraping, and with brush and black ink, graphite, fabricated charcoal, and touches of opaque watercolor on medium-weight, rough-textured, off-white wove paper (four edges trimmed)

37.5 × 50.8 cm (14 13/16 × 20 in.)

Art Institute of Chicago

Movement: Boats and Objects, Blue Gray Sea

1947 · Oil on canvas

73.7 × 92.1 cm (29 × 36 1/4 in.)

Art Institute of Chicago

Brooklyn Bridge - on the Bridge, No. 2

1944 · Etching

plate: 6 7/16 x 7 11/16" (16.4 x 19.5 cm); sheet: 7 9/16 x 10 1/16" (19.2 x 25.6 cm)

Museum of Modern Art

Cape Split, Maine

1941 · Watercolor with touches of blotting, and with graphite and black colored pencil, on lightweight (estimated), slightly textured, ivory wove paper (top, left and right edges trimmed), laid down on artists’ board faced with ivory wove paper, in original frame

39.2 × 52.1 cm (15 7/16 × 20 9/16 in.); Mount: 55.3 × 73.2 cm (21 13/16 × 28 7/8 in.)

Art Institute of Chicago

Circus Elephants

1941 · Watercolor with scraping and wiping, and with opaque watercolor, graphite and black crayon, on medium-weight, slightly textured, cream laid paper

48.9 × 63 cm (19 5/16 × 24 13/16 in.)

Art Institute of Chicago

Movement: Sky and Grey Sea

1941 · Watercolor, charcoal, and pencil on paper

15 1/8 x 20 7/8" (38.6 x 53 cm)

Museum of Modern Art

The Bridge, New York

1940 · Black, orange and yellow crayon on lightweight, smooth, grayish-ivory wove paper, laid down on off-white wove card

Primary support: 25 × 20.1 cm (9 7/8 × 7 15/16 in.); Secondary support: 35.8 × 27.5 cm (14 1/8 × 10 7/8 in.)

Art Institute of Chicago

Nudes in Sea

1940 · Watercolor with blotting, wiping, and scraping, and black crayon, with brown colored pencil, on heavyweight, moderately textured, ivory wove paper (all edges trimmed), in original frame

39.1 × 53.3 cm (15 7/16 × 21 in.)

Art Institute of Chicago

Self-Portrait

1939 · Graphite on mylar

26.2 × 20.7 cm (10 3/8 × 8 3/16 in.)

Art Institute of Chicago

Sea, Green and Brown, Maine

1937 · Watercolor with wiping and scraping, and with opaque watercolor, over graphite, on medium-weight (estimated), moderately textured, ivory wove paper (all edges trimmed), laid down on wood-pulp board faced with ivory wove (estimated) paper, gilt with silver leaf, and backed with dark red wove paper, in original frame

Sheet: 38.7 × 53.4 cm (15 1/4 × 21 1/16 in.); Secondary support: 42.7 × 56.6 cm (16 13/16 × 22 5/16 in.); Mount: 50.3 × 64.3 cm (19 13/16 × 25 3/8 in.)

Art Institute of Chicago

Circus Horses

1936 · Graphite and colored pencil, with incising, on mylar

18.5 × 24 cm (7 5/16 × 9 1/2 in.)

Art Institute of Chicago

Nudes in the Forest

1935 · Watercolor and graphite on tan wove paper

14 × 20.4 cm (5 9/16 × 8 1/16 in.)

Art Institute of Chicago

Sailboat

1932 · Etching with plate tone on white wove paper

Plate: 17.3 × 23.5 cm (6 13/16 × 9 5/16 in.); Sheet: 21.6 × 34.7 cm (8 9/16 × 13 11/16 in.)

Art Institute of Chicago

Rocks and Sea: Small Point, Maine

1931 · oil on canvas

Framed: 65.4 x 80.6 x 6.4 cm (25 3/4 x 31 3/4 x 2 1/2 in.); Unframed: 56.2 x 71 cm (22 1/8 x 27 15/16 in.)

Cleveland Museum of Art

Lower Manhattan from the Bridge

1931 · Etching

composition: 6 3/4 x 9 5/8" (17.2 x 24.5 cm); sheet: 11 x 14 15/16" (28 x 38 cm)

Museum of Modern Art

Approach to the Bridge

1931 · Etching

plate: 6 7/8 x 9 3/4" (17.4 x 24.7 cm); sheet: 11 3/16 x 15 1/16" (28.4 x 38.2 cm)

Museum of Modern Art

Buoy, Maine

1931 · Watercolor on paper

14 3/4 x 19 1/4" (37.5 x 48.9 cm)

Museum of Modern Art

Valley of the Hondo, New Mexico

1930 · Watercolor with black crayon, on moderately thick, moderately textured, ivory wove paper (all edges trimmed), in original frame

39.4 × 52.2 cm (15 9/16 × 20 9/16 in.)

Art Institute of Chicago

Mountain Forms, New Mexico

1930 · Watercolor with black crayon on moderately thick, moderately textured ivory wove paper (all edges trimmed), in original frame

35 × 46 cm (13 13/16 × 18 1/8 in.)

Art Institute of Chicago

Skyscrapers in Construction, No. 1

1930 · Etching

plate: 9 15/16 x 6 13/16" (25.3 x 17.3 cm); sheet: 15 1/16 x 11" (38.2 x 27.9 cm)

Museum of Modern Art

St. Paul's Against the El

1930 · Etching

plate: 9 5/8 x 6 13/16" (24.5 x 17.3 cm); sheet: 15 x 11 1/8" (38.1 x 28.3 cm)

Museum of Modern Art

West Forty-Second Street from Ferryboat

1929 · Watercolor with wiping, blotting, and scraping, and with black colored pencil, black crayon, and graphite, on moderately thick (estimated), slightly textured, ivory wove paper (all edges trimmed) perimeter mounted to wood-pulp board faced with cream wove paper, in original frame

54.9 × 66.3 cm (21 5/8 × 26 1/8 in.); Secondary support: 58.3 × 75.3 cm (23 × 29 11/16 in.)

Art Institute of Chicago

On Morse Mountain, No. 6, Maine

1928 · Watercolor and black crayon and reductive work with the end of paint brush on thick, moderately rough-textured wove paper

Image and Sheet: 42.3 x 56.5 cm (16 5/8 x 22 1/4 in.)

Cleveland Museum of Art

Deer Isle, Maine, probably Movement No. 12—Boats and Pertaining Thereto

1927 · Watercolor with black pencil on moderately thick, moderately textured, off-white wove paper (top and right edges trimmed)

33.5 × 44 cm (13 1/4 × 17 3/8 in.)

Art Institute of Chicago

Movement No 24–Pertaining to Deer Isle–The Road

1927 · Watercolor, with black colored pencil and black crayon, on moderately thick (estimated), slightly textured, ivory wove paper (all edges trimmed), laid down on wood-pulp laminate board faced with ivory wove (estimated) paper, prepared with a gray wash, with a decorative paper board collar gilt with silver leaf, in original frame

36 × 44.8 cm (14 3/16 × 17 11/16 in.)

Art Institute of Chicago

Movement No 23–The Sea and Pertaining Thereto

1927 · Watercolor with blotting, wiping, and touches of scraping, and with black and brown colored pencils, on moderately thick (estimated), moderately textured, ivory wove paper (top, right and lower edges trimmed), hinged to paper prepared with a black wash, with a decorative paperboard collar gilt with silver leaf, laid down on wood-pulp board faced with cream wove paper, in original frame

Primary support: 35.2 × 45.7 cm (13 7/8 × 18 in.); Secondary support, including decorative collar: 37.5 × 47.5 cm (14 13/16 × 18 3/4 in.); Tertiary support: 44 × 53.7 cm (17 3/8 × 21 3/16 in.)

Art Institute of Chicago

The Pine Tree, Small Point, Maine

1926 · Watercolor with blotting, black pencil, and charcoal on moderately thick, slightly textured, off-white wove paper (trimmed top edge), in original frame

44.1 × 55.6 cm (17 3/8 × 21 15/16 in.)

Art Institute of Chicago

Downtown New York, Three Movements

1925 · Etching with retroussage, selectively wiped, on white wove paper

Plate: 21 × 16.2 cm (8 5/16 × 6 7/16 in.); Sheet: 39.1 × 29 cm (15 7/16 × 11 7/16 in.)

Art Institute of Chicago

River Movement

1925 · Etching

plate: 7 11/16 x 9 9/16" (19.6 x 24.3 cm); sheet: 11 1/8 x 15 1/4" (28.2 x 38.8 cm)

Museum of Modern Art

Nassau Street, Looking South

1924 · Etching

sheet: 8 7/8 x 7 3/4" (22.6 x 19.7 cm)

Museum of Modern Art

From Bold Island, Maine

1923 · Watercolor with blotting, fabricated charcoal, and charcoal wash, on moderately thick, moderately textured, ivory wove paper

43.2 × 51.5 cm (17 1/16 × 20 5/16 in.)

Art Institute of Chicago

Blue Sea (recto); Sheet of Sketches (verso)

1923 · Watercolor with fabricated charcoal on (recto), and watercolor and charcoal wash with rewetting, blotting, and wiping with touches of grphite over charcoal (verso), on thick, rough-textured, off-white wove paper (top and right edges trimmed)

35.4 × 43.7 cm (13 15/16 × 17 1/4 in.)

Art Institute of Chicago

Headed for Boston

1923 · Watercolor with blotting and touches of scraping, and with charcoal with erasing, on moderately thick (estimated), moderately textured, ivory wove paper (right and lower edges trimmed), perimeter mounted to wood-pulp board, faced with ivory paper gilt with silver leaf, in original frame

44.8 × 52.7 cm (17 11/16 × 20 3/4 in.)

Art Institute of Chicago

Sea Movement–Green and Blue

1923 · Watercolor with wiping, and fabricated charcoal, over graphite, on thick, slightly textured, off-white wove paper (all edges trimmed), hinged to wood-pulp board, faced with cream paper, gilt with silver leaf, in original frame

42.9 × 52.1 cm (16 15/16 × 20 9/16 in.)

Art Institute of Chicago

The Red Sun, Brooklyn Bridge

1922 · Watercolor with opaque watercolor, scraping, and wiping, and fabricated charcoal with stumping, on thick, rough-textured, ivory wove paper (all edges trimmed)

54.2 × 66.5 cm (21 3/8 × 26 3/16 in.)

Art Institute of Chicago

Study for the Red Sun, Brooklyn Bridge

1922 · Graphite with erasing on ivory wove paper

11.3 × 14 cm (4 1/2 × 5 9/16 in.)

Art Institute of Chicago

The Tree, Bare Island, Maine

1922 · Watercolor with blotting, wiping, and touches of scraping, and charcoal, on moderately thick, moderately textured, off white wove paper (right and lower edges trimmed)

43.5 × 52 cm (17 3/16 × 20 1/2 in.)

Art Institute of Chicago

Lower Manhattan (Composing Derived from Top of Woolworth)

1922 · Gouache and charcoal with paper cut-out attached with thread on paper

21 5/8 x 26 7/8" (54.5 x 67.5 cm)

Museum of Modern Art

Camden Mountain across the Bay

1922 · Watercolor on paper

17 1/4 x 20 1/2" (43.8 x 52.1 cm)

Museum of Modern Art

The Green Sea – Movement – Stonington, Maine

1921 · Watercolor with wiping and charcoal on thick (estimated), slightly textured, ivory wove paper, hinged to paperboard, faced with ivory wove (estimated) paper, gilt with gold leaf (top and right edges trimmed), in original frame

41.3 × 49.5 cm (16 5/16 × 19 1/2 in.); Mount: 57.8 × 64.5 cm (22 13/16 × 25 7/16 in.)

Art Institute of Chicago

Downtown, The El

1921 · Etching

plate: 6 7/8 x 8 13/16" (17.5 x 22.4 cm); sheet: 11 1/4 x 15 1/2" (28.5 x 39.3 cm)

Museum of Modern Art

Pedestrians on Brooklyn Bridge

1920 · Graphite on lightweight, smooth, tan wove paper, laid down on ivory wove card (all edges trimmed)

Primary support: 13.6 × 19.3 cm (5 3/8 × 7 5/8 in.); Secondary support: 24.7 × 29.7 cm (9 3/4 × 11 3/4 in.)

Art Institute of Chicago

Untitled (Evergreen Tree, Maine)

1920 · Charcoal on cream laid paper

25.3 × 20 cm (10 × 7 7/8 in.)

Art Institute of Chicago

Lower Manhattan

1920 · Watercolor and charcoal on paper

21 7/8 x 26 3/4" (55.4 x 68 cm)

Museum of Modern Art

Downtown, New York City (with color notes)

1919 · Graphite, with smudging and erasing, on cream wove paper

21.8 × 17.5 cm (8 5/8 × 6 15/16 in.)

Art Institute of Chicago

Tree and Sea, Maine

1919 · Watercolor with charcoal and charcoal wash, on moderately thick, moderately textured, off-white wove paper (lower and right edges trimmed), in original frame

42.3 × 35.2 cm (16 11/16 × 13 7/8 in.)

Art Institute of Chicago

Spring Rains

1918 · Watercolor with blotting and wiping, and with charcoal, on thick, moderately textured, ivory wove paper (lower and left edges trimmed), in original frame

42 × 49.6 cm (16 9/16 × 19 9/16 in.)

Art Institute of Chicago

Buildings

1917 · Graphite with erasing on lightweight, slightly textured, ivory wove paper (top edge trimmed)

21.9 × 27.7 cm (8 5/8 × 10 15/16 in.)

Art Institute of Chicago