Painted in 1962, Trees, Maine presents Herman Maril's quietly lyrical response to the coastal landscape he returned to season after season, distilling the dense, light-filtered character of the Maine woods into a composition of rare economy and feeling. The forms of the trees are simplified into broad, interlocking shapes that pulse with restrained color, suggesting both the physical weight of the forest and the luminous atmosphere that surrounds it. Maril's handling of the board's surface is confident and deliberate, with paint applied in a way that balances flatness with a subtle sense of depth, revealing the influence of mid-century American modernism while remaining entirely personal in sensibility. At 35.6 by 44.5 centimeters, the work is intimate in scale yet expansive in mood, inviting close attention to the relationships between form, edge, and tone that give Maril's landscapes their distinctive meditative quality. Throughout his career, Maril maintained a deep commitment to place as a source of meaning rather than mere description, and Trees, Maine exemplifies this approach with particular clarity. The composition avoids the picturesque in favor of something more structural and felt, a translation of observed nature into a visual language that rewards sustained looking. Maril spent decades teaching at the University of Maryland while exhibiting widely, and his work entered major public collections including the Phillips Collection and the Smithsonian American Art Museum. A signed example from this period, offered through Debra Force Fine Art, represents a compelling opportunity to acquire a work that sits comfortably within the finest traditions of American modernist landscape painting.