1933, John Marin, Pertaining to Fifth Avenue and Forty-Second Street -- Phillips Collection (Washington)
From the museum label:
Having lived in Paris from 1905 to 1911, Marin later applied his understanding of Cubism to several city scenes. Creating sequences of movement, he drew with ink or oil, then painted the middle section in washes, and left patches of bare canvas to indicate white. He used a palette knife to create highlights. Interlocking flattened forms capture a city in constant motion, leading Duncan Phillips to remark that for Marin, "New York is sensed as a world rocking with the throb of energy."
This painting premiered at the Phillips's Marin retrospective in 1937. After attending the opening, Marin told Phillips: "It has all through it that which I am striving—rhythm and that to me hooks a picture right up with—music." Marin cultivated a friendship with the Phillipses.
1933, John Marin, Pertaining to Fifth Avenue and Forty-Second Street -- Phillips Collection (Washington)
From the museum label:
Having lived in Paris from 1905 to 1911, Marin later applied his understanding of Cubism to several city scenes. Creating sequences of movement, he drew with ink or oil, then painted the middle section in washes, and left patches of bare canvas to indicate white. He used a palette knife to create highlights. Interlocking flattened forms capture a city in constant motion, leading Duncan Phillips to remark that for Marin, "New York is sensed as a world rocking with the throb of energy."
This painting premiered at the Phillips's Marin retrospective in 1937. After attending the opening, Marin told Phillips: "It has all through it that which I am striving—rhythm and that to me hooks a picture right up with—music." Marin cultivated a friendship with the Phillipses.