West New York and Vicinity c. 1890

John Marin rendered "West New York and Vicinity" in watercolor, capturing a scene where structures and nature intertwine, almost dissolving into one another. Look closely. The houses, reduced to simple shapes, are not just buildings; they are symbols of human presence amidst the overwhelming forces of nature. The composition is dominated by a dense thicket of trees. This recalls the "horror vacui" often found in ancient art, a fear of empty space that leads to the filling of every area with detail. Here, it translates into an almost claustrophobic representation of nature's power. Consider how the motif of the "house" evolves across art history, from a symbol of safety and domesticity to, here, an almost impermanent structure, overshadowed by the natural world. This evokes a deep psychological tension. The painting mirrors a collective anxiety about the individual's place in the face of an indifferent, powerful nature. The cyclical nature of art reminds us that these anxieties and symbols resurface, evolving with us.