When the Montross Gallery on New York’s Fifth Avenue launched an exhibit featuring over one hundred creations by the American painter John Marin (1870 – 1953) in the winter of 1922, “art voyager” and all-around well-respected critic Paul Rosenfeld (1890 – 1946) was present, and very shortly put pen to paper in order to heap many bon-mots upon the man and his work:
“He applies his wash with the directness of impulse that is supposed to be discoverable only in the work of small children. One racks one’s brain for memory of a water-color painter who reveals in every stroke of his brush a more uninhibited urge outward.”
