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Watercolor Gallery Same View
Sand Beach, Stonington 1919-2015
These early 1900s watercolors, all documented as painted in Stonington, are likely Sand Beach, based on the views in the paintings, the ledges on the right side of the beach, that Sand Beach is the largest of the barely any sand beaches on the rocky coast in Stonington, and that John Marin ate at the Inn across from Sand Beach.
Sand Beach Shore
Jill Hoy (1954- ), American
Watercolor on paper, 30" x 23" (w x h), 2015
$2,000
Jill Hoy, B.F.A. University of California at Santa Cruz and attended the New York Academy of Art in New York City, lives in Stonington, Maine, Somerville, Massachusetts, and New York City. Because she's been a regular resident of the Deer Isle area since 1965, much of her work documents places and time here. The artist's website is HERE.
The Green Sea - Movement - Stonington, Maine
John Marin (1870-1953), American
Watercolor with wiping and charcoal on textured paper,
19" x 16" (w x h), 1921
Art Institute of Chicago
John Marin ate at the Inn facing Sand Beach in Stonington, the same building, the only house facing the beach, where our art group stayed to paint a few years ago.
In the summers John Marin painted in Stonington he wrote to Alfred Stieglitz in New York.
1921: This Stonington is a cussed place, but if someone were to tell me I couldn't come back here next year I'd be mad clear through. How do you account for that? Well, every place has its cussedness. And you would have to get its special cussedness all over.
1922: Stonington is about the same as ever, always at first disappointing. Then that wears away and you begin to like it all over again... While I work Mrs. Marin picks blueberries and gets the meals. It's all work up here.
1928: "I would be home, at home, in this place, these places my homes, all together my home. My loves, my home. If I am able to snare a bit of this in what I do, that's it."
The Sea, Maine
John Marin (1870-1953), American
Watercolor and charcoal on paper, 20" x 16" (w x h), 1921
Minneapolis Institute of Art
Museum notes:
In establishing his modernist style, John Marin frequently turned to the untamed landscape for his subjects, especially the landscape of Maine. The New Yorker visited Maine every year, spending the summer of 1921 in Stonington, a picturesque fishing village on the southern shore of Deer Isle, one of the many islands along Maine's coast. The Sea, Maine is a plein-air interpretation of the island's rugged shoreline of granite outcroppings and windswept pine and spruce. In this dynamic meeting of land and sea, Marin united abstract and representational impulses, using gestural strokes, bold colors, and delicate washes to denote nature's essential forms. His line and brushwork have an urgent, improvisational quality, conveying the rhythm and motion of wind and surf.
John Marin and his family summered in Stonington at the same time as William and Marguerite Zorach and their family. They were friends and socialized.
Stonington, Maine
William Zorach (1887-1966), Lithuanian-American
Watercolor on paper, 15" x 12" (w x h), 1919
William Zorach was a Lithuanian-born American sculptor, painter, printmaker, and writer. He won the Logan Medal of the arts. He is notable for being at the forefront of American Artists embracing cubism, as well as for his sculpture. He's the husband of Marguerite Thompson Zorach and father of Dahlov Ipcar, both artists in their own right. I was lucky enough to meet fellow children's boom author, Dahlov Ipcar. She was two years old when her father painted this watercolor in 1919.
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