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JOHN MARIN

measurements note
9 1/2 by 7 5/8 in. (24 by 19.5 cm.)

palladium or platinum-palladium print, tipped to a board mount, matted, matted again, in a modern white metal frame, 1922

PROVENANCE

The photographer to Georgia O'Keeffe

Doris Bry, New York, acquired from the above

Acquired by the Gilman Paper Company from the above, 1992

LITERATURE

Other prints of this image:

Greenough 707

Waldo Frank et al., America and Alfred Stieglitz: A Collective Portrait (New York, 1934), pl. XXIII-C

Doris Bry, Alfred Stieglitz: Photographer (Museum of Fine Arts, Boston, 1965 and 1996, in conjunction with the exhibition), pl. 35

Sue Davidson Lowe, Stieglitz: A Memoir/Biography (New York, 1983), pl. 23

Therese Mulligan, ed., The Photography of Alfred Stieglitz: Georgia O'Keeffe's Enduring Legacy (George Eastman House, 2000), fig. 121 (a half-tone reproduction from Stieglitz Memorial Portfolio)

NOTE

Alfred Stieglitz first met the American artist John Marin (1870 -- 1953) in Paris in 1909, through their mutual friend, Edward Steichen. Earlier that year, Steichen had sent a group of Marin's watercolors to Stieglitz for exhibition at 291, and these were shown along with works by Alfred Maurer, another American painter living in Paris. Stieglitz was so taken by Marin and his work that, in 1910, he gave the artist his first solo exhibition. He actively encouraged the artist, and, between 1910 and 1942, featured Marin's stylistically unique oils, watercolors, drawings, and prints in no fewer than 26 one-man exhibitions, and in many group shows at his galleries. The friendship between Stieglitz and Marin was a strong one, and Marin remained a featured artist throughout Stieglitz's career as a gallerist. As Ruth S. Fine writes, 'The sympathetic warmth of this duo [Stieglitz and Marin] was central to Marin's artistic success; and from the time the two men met, their friendship functioned as an active force in the exhibition program at Stieglitz's Little Galleries of the Photo-Secession (291), Intimate Galleries, and An American Place, where an exhibition of Marin's work marked the start of almost every new season' (Modern Art and America: Alfred Stieglitz and His New York Galleries, p. 341).

Stieglitz made his first photograph of Marin jointly with Edward Steichen some time around 1910 (Greenough 329), and Marin continued to be a subject for Stieglitz's camera throughout the decades of their friendship. The photograph offered here is one of 5 variant portraits made during the same sitting (Greenough 706 -- 710).

In Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs, Sarah Greenough locates 4 other prints of this image, all in institutional collections: in the National Gallery of Art, Washington, D. C.; The Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; and the Philadelphia Museum of Art. Doris Bry points out that the National Gallery of Art's print is gelatin silver, while the others are palladium.