Weehawken Sequence (John Marin) Et oljemaleri, malt for hånd kun for deg

Identification of the Weehawken Sequence

The Weehawken Sequence emerges from the mind of the American artist John Marin, who lived from 1870 to 1953. This specific work, painted about 1916, captures an abstract cityscape of Weehawken, New Jersey. It exists as a single voice within a much larger, experimental dialogue. Marin produced more than one hundred paintings under the title Weehawken Sequence, each one a distinct observation of the local terrain.

The scene unfolds as a distillation of the urban landscape, where the structures of the town meet the air. It belongs to a broader group of experimental works that seek to capture the essence of a place rather than a literal transcription. In this piece, the city is reduced to its essential lines, offering a quiet record of a landscape seen through a shifting lens. The work remains a vital part of the artist's exploration of the New Jersey riverfront.

Composition and Visual Elements

The scene unfolds as a distillation of the urban landscape, where the rigid structures of the town meet the open air. In this abstract cityscape of Weehawken, New Jersey, the city is reduced to its essential lines, stripping away the unnecessary to find the core of the terrain. The composition captures a specific moment where the built environment begins to merge with the atmosphere, creating a rhythmic arrangement of form and space. The paint itself seems to hold the memory of the New Jersey terrain, anchoring the viewer in a place defined by its shifting edges.

Within this fractured view, human presence and nature intermingle. Women appear in traditional attire, their forms integrated into the landscape through details like striped skirts and the delicate suggestion of lace and fabric folds. These figures exist alongside organic elements, as foliage weaves through the composition. Wooden structures provide a sense of weight and geometry, yet they remain part of a larger, fluid movement. The interplay of these elements creates a sense of energy, where the solid reality of the docks and buildings meets the lightness of the surrounding air.

Technique and Physical Materials

The work exists as a small and concentrated presence, an oil on canvas board that holds a specific, contained energy. When stripped of its frame, the surface measures 11 3/4 x 9 inches, a compact scale that forces the eye to engage closely with the texture. Once encased, the total dimensions reach 14 1/4 x 11 1/2 x 1 inches. This physical intimacy allows the viewer to witness the direct, vigorous application of the paint, which moves with a rhythm that suggests the very movement of the air itself.

The style shifts between impressionist and expressionist modes, refusing to settle into a single mode of representation. Light and form do not sit still here; instead, they fracture and reform through the brushwork. The paint captures a subjective response to the landscape, prioritizing the feeling of a moment over a literal transcription. It is a study of light and atmosphere caught in a tight, physical grip, where the colors and strokes work to distill the essence of the scene into a rhythmic arrangement.

Provenance and Collection History

The life of this work travels through several hands and galleries, moving from the private sphere into the public eye. It has been held by Kennedy Galleries, Inc. in New York, and later passed through the doors of Meredith Ward Fine Art, also in New York. The painting's path continued through the hands of Franklin Riehlman Fine Art and Megan Moynihan Fine Art, both located in New York, as it moved through the city's art landscape.

Today, the piece finds its home at The Phillips Collection in Washington, D.C. It remains part of this collection under the object number 2017.25. This current placement is the result of a gift from Carolyn K. and Richard F. Barry III, who brought the work into the institution's care.