A 1948 abstract etching and aquatint by Minna Citron, exploring fluid forms and deep oceanic tones through experimental printmaking techniques.

Minna Citron, a significant figure in the American printmaking scene, produced this work in 1948. During this period, Citron transitioned from the social realism that defined her earlier career towards a more experimental, non-representational approach. This shift was influenced by her studies at Atelier 17, the legendary printmaking workshop founded by Stanley William Hayter. Under Hayter's guidance, Citron explored the technical possibilities of etching and aquatint, moving away from literal depiction to focus on the physical properties of the medium.

Marine displays the results of this technical exploration. The composition relies on the interplay of deep, saturated blues and lighter, verdant greens. The surface texture is particularly notable, created through the use of aquatint to build up tonal areas and etched lines that suggest organic, perhaps underwater, forms. Rather than attempting to capture a specific coastal view, the work invites the viewer to engage with the fluid, shifting nature of the sea through abstract shapes and layered colour. The marks appear to float within the rectangular frame, creating a sense of depth without relying on traditional perspective. The plate marks and the artist's handwritten annotations remain visible on the paper, providing a direct connection to the physical process of the print's creation. This piece reflects the mid-century interest in the subconscious and the expressive potential of abstract forms, demonstrating Citron's ability to adapt her practice to the changing artistic climate of post-war America.