John Marin Prints – New York Skylines, Lines & Colour

John Marin prints turn New York’s buildings into arrangements of coloured blocks, slanting lines and softened edges. Recognisable towers can remain visible even where the surrounding city becomes more loosely suggested. Explore the collection alongside cityscape prints, abstract art and Post-Impressionist work.

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Lower Manhattan From The Bridge, John Marin
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Yellow Sun, New York City, John Marin
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New York Skyline, John Marin
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Lower Manhattan, John Marin
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From New York Hospital, John Marin
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Fifth avenue – as it looks to a leader of the post-impressionists (1912), John Marin
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Downtown New York , Singer Building, John Marin
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America’s tallest tower, plus some temperament (1914), John Marin
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Towers gathered into broad coloured areas

Lower Manhattan from the Bridge stacks blue and violet buildings above smaller warm shapes in the foreground. Pale gaps separate parts of the skyline. The view keeps the city’s different heights readable without describing every window or façade with the same precision.

A bright shape within divided urban space

Yellow Sun, New York City sets a yellow sun among tilted building edges and small colour patches. Dark lines cross more open pale areas. The arrangement gives the city a changing rhythm, making the gaps and angled marks as active as the more solid forms.

A recognisable tower within loose surroundings

Downtown New York, Singer Building raises the narrow upper structure above a compressed gathering of pale and blue façades. Small dark marks establish lower detail. Compare the more descriptive central building with the broader colour blocks of the bridge view.

Related artists and collections

Compare modern cities in Charles Demuth, strong structural divisions in Joseph Stella and expressive urban forms in Umberto Boccioni. Further cityscape art follows the towers and bridges, while abstract prints develops the freer relationships between line, colour and surrounding space.

Read more in our guide to New York City in paintings.