Still Life with Fish, 1982 Oil on canvas, 40 x 30 in
Herman Maril: American Modernist
Herman Maril (1908-1986) was a painter of quiet American optimism. With oil on canvas, he deftly translated his observations of people, places, and activities that helped define his works as significant in the American Scene movement. He was a cogent observer of his time and, correspondingly, an astute chronicler of the world around him. From his earliest works of the 1930s and throughout his career, his art retained a unique position alongside his American Scene peers such as Thomas Hart Benton, Grant Wood, and, later, Andrew Wyeth.
Looking at a Maril painting, one can easily admire, perhaps even yearn for, the sense of genuine tranquility suggested by his works. They inevitably tempt a feeling of “a simpler, better time.” Following the Depression, his landscapes became idyllically pastoral and his interiors take on the elysian character of peaceful still lifes. Never does there seem to be any sense of aggravation or disquietude in a Herman Maril painting. A unique kind of American Modernist is he.
Among so many other characteristics, Maril’s paintings cannily invite his viewer into a space of contemplation, where the mind is permitted to rest, if it will, and the distractions of modern life might be set aside, if even just for a while. Bathed in soft light and muted colors, Maril’s paintings frequently depict quiet moments in serene landscapes, domestic routines, personal interactions, and intimate interiors. A deliberate calmness is suggested by his work, one that offers a reprieve from the hurried pace and oppressive noise of modern life. Gazing at a Maril tableau can be a meditative experience, contemplating not just the subject of the work but
also intuiting the sense of gentle rhythms of life and the passage of time the artist infuses in his choice of compositions.
Maril’s use of nature is key to this remarkable aspect of his work. Far more than mere scenery, landscape becomes a means by which the artist engenders an appreciation for the rhythms and cycles of the natural world that often go unnoticed in everyday life. Howard E. Wooden, Director at the Wichita Art Museum, once observed, "Maril simply sees nature as the source for nourishing humanity and thus he falls squarely within the humanistic tradition of Western art.”
In many ways, Maril’s work also reflects the sensibility of the European modernists, particularly Cézanne, whose focus on form and structure profoundly influenced Maril. Like Cézanne, Maril was concerned with the underlying geometry of the world, but his work transcends mere formalism. There is a warmth and humanity in his use of color and composition that sets him apart from many of his contemporaries. Christine McCarthy, Director of the Provincetown Art Association and Museum, stated, “Maril’s stylistic journey is reminiscent of the Renaissance, has roots in Cubism, moves into Modernism, and results in a simple elegance, indefinable within the art historical context.”
Maril’s paintings often feature a sense of absence or empty space that allows for memory and nostalgia. For example, an image might depict an empty chair by an open window, a quiet domestic interior, or a stretch of calm coastline. These are
Essay continues on page 6
Back Alley Vista, 1949
Oil on canvas, 24 x 30 in
Diagonal with Truck, 1972 Oil on canvas, 30 x 20 in
Herman Maril: American Modernist
not just depicting scenes of stillness; they might also evoke memories of a bygone world or one that is only imagined by the observer. This quality of absence in a work can inspire powerful emotional effect.
In Maril’s reductively beautiful work entitled The Conversation, two figures are engaged in dialogue, their body language suggesting quiet uninterrupted connection. This pleasant vignette of intimate communication reminds the viewer of a time when the pace of life was slower and relationships were cultivated in the personal presence of one another, without the risk of interference from cell phone interruption, for example. Maril's tranquil domestic scenes, with their simple objects and quiet interiors, also evoke the meditative nature of daily rituals—folding laundry, going for walks, or outdoor playtime. These moments take on an almost poetic quality in Maril’s scenes.
Herman Maril’s path as an artist was not an easy one. Born in 1908 in Baltimore, Maril endured the hardships of the First World War and the Great Depression. He struggled financially throughout his early career and, yet, his dedication to his craft never wavered. Maril's commitment to his art was evident early on, and he became involved in several public works projects during the 1930s, particularly through the Works Progress Administration (WPA). The WPA allowed artists including Maril to create works that both supported their livelihoods and had a lasting impact on American culture.
Maril’s artistic approach, particularly in his post-war works, was characterized by a subtle blending of abstraction and naturalism. He used muted colors and simple forms to create compositions that conveyed emotional depth while remaining grounded in the physical world. In his landscapes and interiors, he employed a restrained palette to capture quiet beauty of nature. This restraint in color and form was not a limitation but a deliberate choice, reflecting his belief that richness in tone comes not from an abundance of colors but from their thoughtful and effective use. As Maril himself once said, “Richness of tone is not brought out by using many colors; rather, it is brought out by using a few colors effectively.”
Herman Maril's work gained increasing recognition throughout his career. In 1934, First Lady Eleanor Roosevelt personally selected a painting by Maril of the Baltimore waterfront to hang in the White House, marking a pivotal moment in his career. His paintings were showcased in major exhibitions at institutions like the Whitney Museum of American Art and the Metropolitan Museum of Art. Maril’s work became part of over 75 prestigious museum collections, including the Smithsonian American Art Museum, the National Portrait Gallery, and The Phillips Collection in Washington, D.C., and the Bezalel National Art Gallery in Israel. His recognition culminated in 1978 when he was inducted into The American Academy of Arts and Letters, solidifying his status as a key figure in 20th-century American art.
Maril’s work is grounded in a distinctly American sensibility, one that focused on the lived experiences of ordinary people and the places and landscapes they inhabited. His paintings, with their quiet, contemplative nature, stand in contrast to the more Essay continues on page 10
Molly and Antique Chair, 1975
Oil on canvas, 30 x 36 in
Early Morning Verticals, 1966 Oil on canvas, 48 x 30.25 in
Herman Maril: American Modernist
dramatic or politically charged works of other modernists, offering instead a vision of a world where beauty and tranquility are deeply intertwined with daily life. His legacy as an artist is marked by his ability to balance form and emotion, abstraction and representation. As the noted art critic and poet Ralph Pomeroy has stated, “Herman Maril has remained steadfast in his artistic treatment of persons, places, and things. This long constancy has about its product a serene cast, a quietism in which the spell of art is encouraged to work its magic.”
Boy and Dog, 1966 Oil on canvas, 49.75 x 40 in
In the Studio, 1978 Oil on canvas, 30 x 40 in
Conversation, 1960
Oil on canvas, 24 x 30 in
Siblings, 1958 Oil on canvas, 28 x 22 in
Rose and Open Drawer, 1980 Oil on canvas, 20 x 30 in
Sawing Wood, 1986 Oil on canvas, 20 x 20 in
Clothes Line and Flowers, 1960 Oil on Canvas, 40 x 30 in
1985
Window and Big Pitcher,
Oil on canvas, 30 x 40 in
Studio and Window, 1981 Oil on canvas, 40 x 30 in
Street in the City, 1940 Oil on board, 30 x 24 in
Studio with Figure, 1971 Oil on canvas, 40 x 60 inches
In The Works, 1981
Oil on canvas, 30 x 40 in
New Work on the Easel, c. 1986 Oil on canvas, 24 x 30 in
Playground, 1955
Oil on canvas, 24 x 18 in
The Suburbanite, 1950 Oil on canvas, 28 x 22 inches
Interior with Drape, 1982 Oil on canvas, 36 x 30 in
Conversation, 1960
Oil on canvas, 16 x 20 in
In Pasture, 1978 Oil on canvas, 18 x 24
Still Life, 1930
Oil on canvas, 20 x 16 in
Violin at Rest, 1929 Oil on canvas, 12 x 16 in
Skaters, 1947
Oil on canvas, 9 x 12 in
Building, 1981
Oil on canvas, 40 x 48 in
Urban Renewal, 1950
Oil on canvas, 18 x 24.25 in
