Road to the Sea
Like the modernist John Marin before him, Milton Avery described landscapes in a spare and summary way, using a variety of precisely placed touches to suggest the key details of a place. In this view of the rolling coastline of Canada’s rugged Gaspé Peninsula, parallel charcoal lines and strokes of blue wash together indicate the trees on a hillside. Unlike Marin (whose work is also on view here), however, Avery always anchored his shorthand details within an overall composition, based in a few simple outlines and extending to the edges of the sheet.
Transparent watercolor with small touches of opaque watercolor over charcoal on off-white, moderately thick, rough-textured wove paper
22 1/2 x 30 5/8 in. (57.2 x 77.8 cm)
Frame: 28 x 36 x 1 1/2 in. (71.1 x 91.4 x 3.8 cm) (show scale)
Signed lower right: "Milton Avery"
Dick S. Ramsay Fund
This item is not on view
Milton Avery (American, 1885-1965). Road to the Sea, ca. 1938. Transparent watercolor with small touches of opaque watercolor over charcoal on off-white, moderately thick, rough-textured wove paper, 22 1/2 x 30 5/8 in. (57.2 x 77.8 cm). Brooklyn Museum, Dick S. Ramsay Fund, 43.104. © artist or artist's estate (Photo: Brooklyn Museum, 43.104_SL1.jpg)
overall, 43.104_SL1.jpg. Brooklyn Museum photograph
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
© artist or artist's estate
Copyright for this work may be controlled by the artist, the artist's estate, or other rights holders. A more detailed analysis of its rights history may, however, place it in the public domain.
The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.
This painting is an abstract representation of the landscape of the Gaspé Peninsula in Québec. In the early 20th century many artists were experimenting with different approaches to, and levels of, abstraction.
If you look closely, you'll notice that Avery has utilized two different types of watercolor (transparent and opaque) as well as charcoal in this work. The variety of markmaking techniques and the thick paper add texture to the work.