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Topic: Reginald Marsh

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	Hunter Museum of American Art
		Reginald Marsh was born in Paris in 1898.
		It was Miller, in fact, who encouraged Marsh to follow up on an impulse he brought back from Europe, to adapt the design and technique of certain old masters (Marsh admitted to being particularly impressed with Rubens and Delacroix) to the raw pictorial potential of his immediate contemporary surroundings.
		Marsh taught drawing and painting at the Art Students League in the summers of 1935, '36, '39, '40, and '41.
	www.huntermuseum.org /FrameForCollections.aspx?page=Include/HTML/Artists/reginaldmarsh.htm (887 words)

	ASU Art Museum \| Collections: Reginald Marsh
		Reginald Marsh was an urban realist whose visual history truly celebrated the American city and it's masses.
		Marsh began the first of his many trips to Europe in 1925 where he studied and drew paintings of the Old Masters.
		Marsh won many prestigious awards and his work was included in the Whitney Museum's Annual and Biennial Exhibitions during his life.
	asuartmuseum.asu.edu /collections/american/marsh1.htm (497 words)

	Untitled Document
		Reginald Marsh was born in Paris, the second son of the American artists Fred Dana Marsh and Alice Randall.
		Marsh reveled in the crowds of workers and panhandlers that filled the streets of lower Manhattan, and he made frequent forays south from his Fourteenth Street studio in order to find such subjects for his work.
		Marsh is known for including a profusion of signage in his images, and in Strokey's Bar he captures the promotional chaos of the Bowery's billboard advertising.
	www.nbmaa.org /Gallery_htmls/marsh.html (463 words)

	REGINALD MARSH 1898
		Marsh was in the habit of painting in th(daytime and working on prints or photographs in the evening, so he was probably working on the print and the paintings at the same time.
		Marsh's accuracy in representing modern ships is comparable to that of nineteenth-century marine painters such as Fitz Hugh Lane, who made the elaborate rigging of sailing ships part of their design.
		The photograph is a key to the contrasts in Marsh's background and interests; for he was at once the recorder of the crowds of ordinary people in New York, and a well-educated and well-traveled admirer of the Old Masters.
	www.butlerart.com /pc_book/pages/reginald_marsh_1898.htm (873 words)

	Hunter Museum of American Art
		Reginald Marsh was born to American parents in Paris in 1898.
		Marsh's use of transparent gray and brown washes to define the interior architecture of the subway reinforces the public and crowded space.
		Marsh positioned the viewer as a stationary on-looker or voyeur, allowing the study of each individual, their facial expressions, body posture, clothes and the items they are carrying.
	www.huntermuseum.org /FrameForPrograms.aspx?page=Include/HTML/Lessons/lesson10.htm (2492 words)

	20th Century Prints - Artists I to O
		Marsh was a fine portraitist, and he was one of the few artists of the era to try his hand at the technically difficult medium of engraving.
		Signed in pencil and annotated "16." Marsh was one of the few artists of the era who was an accomplished portraitist and this image is in the great tradition of artists' portraits of fellow artists.
		Marsh was one of the few artists of the era to try his hand at the difficult medium of engraving.
	www.ronaschneiderprints.com /C20__IO.htm (2172 words)

	Reginald Marsh (Site not responding. Last check: 2007-08-19)
		For a brief period in the early 1950's I was a student in Reginald Marsh's class at the Art Students League of New York.
		Marsh that I might be useful in dealing with the lifetime of work that Marsh had left.
		Marsh died in 1978 I was retained to distribute the work in her Estate.
	www.udel.edu /art/Faculty/Norsky/RMarsh.htm (438 words)

	South Street Seaport Museum
		Reginald Marsh (1898-1954) was born in Paris of wealthy parents, both artists.
		Although Marsh was paid a salary of thirty dollars a week during the preparatory period, by the time he was ready to begin the actual work on the murals, the federal budget had been cut, leaving fewer funds available for the Custom House project.
		Marsh was able to surmount this problem ingeniously by constructing two moveable scaffolds, each fifty feet high, which allowed him direct access to the mural panels.
	www.southstseaport.org /magazine/articles/1997a-01.shtm (3617 words)

	Reginald Marsh, U.S. Custom House Murals: Reframed and Reseen; article by Lisa Leavitt (Site not responding. Last check: 2007-08-19)
		Marsh brought to the project his visual knowledge of the harbor and technical know-how of the fresco medium.
		Marsh and his assistants were determined to document the busy harbor on a daily basis and transfer the scenes to the custom house murals, devoid of any honkytonk blue-grass Americana.
		After final approval of his subject matter by the Treasury Department, Marsh moved to prepare the mural walls for his fresco al secco application, a variation on the traditional technique whereby the tempera is applied to a dry wall rather than painted quickly on a wet gessoed wall.
	www.tfaoi.com /aa/6aa/6aa15a.htm (1187 words)

	Reginald Marsh The Caldwell Gallery
		Reginald Marsh is contemporary artist who was an instrumental art figure in the Depression Era of NYC.
		Marsh worked as a staff artist for the New York Daily News from 1922-25 and continued to be a contributing artist/writer for national magazines such as The New Yorker, Esquire and Harper's Bazaar.
		Marsh was also a professor at the ASL from 1935-54.
	www.caldwellgallery.com /bios/marshbio.html (118 words)

	Handbook:Grand Tier at the Met (Site not responding. Last check: 2007-08-19)
		Reginald Marsh was born in Paris, the son of painters Fred Dana Marsh and Alice Randall Marsh.
		Marsh thrived on the excitement of crowds, and he reveled in observing the public's pursuit of pleasure.
		Marsh himself was not an opera fan, which perhaps explains why his several images of the Metropolitan Opera and its patrons, done between 1934 and 1940, are generally unflattering.
	www.museum.cornell.edu /HFJ/handbook/hb191.html (266 words)

	Reginald Marsh -- Britannica Student Encyclopedia
		An American painter born in Paris, Reginald Marsh was noted especially for his portrayal of life in and around New York City.
		Reginald Marsh was born on March 14, 1898.
		More results on "Reginald Marsh" when you join.
	www.britannica.com /ebi/article-9275703 (613 words)

	Releases :: Reginald Marsh’s last painting discovered at Moravian College
		Radycki says she was astonished, for Marsh was not known as a portraitist.
		But, in fact, it was the same Reginald Marsh (1898-1954), who came to artistic maturity just after the Ashcan School of social realism and New York City street life had produced its best-known works.
		Marsh was so touched by the small collection, which was nowhere near what he charged for a painting, that he agreed at least to come to Moravian College and meet its president.
	www.moravian.edu /news/releases/2003/162.htm (643 words)

	Reginald Marsh: Scenes from Contemporary New York Life (Site not responding. Last check: 2007-08-19)
		This exhibition, organized from the extensive holdings of Marsh’s work at the Benton Museum, is about New York City and the people that monopolized Marsh’s interest in the 1920s and 1930s.
		Always the outsider, Marsh distanced himself from the private and emotional lives of his subjects, and as in so many of his images constructed the scene as if on a stage.
		It was a world and a time from Prohibition and the Jazz Age through the Depression of the 1930s that Reginald Marsh knew so well and drew with perception and verve, and a small part of that era remains today through his art.
	www.benton.uconn.edu /trav_exh/marsh_about.html (308 words)

	Painting the Town -- Museum of the City of New York
		During his early career as an illustrator and cartoonist, Reginald Marsh took to prowling Manhattan's streets with sketch pad in hand.
		He was particularly intrigued by their charming ticket-booth clerks, flashing marquees, plastering of lurid posters and headlines, and lines of expectant patrons looking every bit as theatrical as the attractions they were priming to see.
		Marsh's career has been well documented by modern scholars, and numerous sources citing Marsh's activities as chronicler of New York during the Depression and World War II can be found in the Museum Archives.
	www.mcny.org /collections/painting/pttcat91.htm (880 words)

	Reginald Marsh (American), 1898-1954: Featured artist works, exhibitions and biography fromJoan Whalen Fine Art
		His fascination with the human crowd was entirely individual for an artist of Marsh’s time, best exemplified in his unforgettable portrayals of Coney Island Beach, his crowded subways, burlesque scenes, and Bowery bums.
		Marsh remains the most significant artistic figure of the genre in the United States and has been the subject of major retrospectives.
		“Behind its public face, Reginald Marsh’s art is determined by a singular and personal vision — a vision that took him of the past and to the present.
	www.artnet.com /ag/fineartthumbnails.asp?gid=1125&aid=11192 (505 words)

	SAMA - Permanant Collection - Reginald Marsh
		From the beginning of his career as a free-lance illustrator, Reginald Marsh chose to depict life in New York City.
		Like ordinary New Yorkers, Marsh went to Coney Island to escape the summer heat and painted people on the beach, at the circus and in the amusement parks.
		Given his early training in drawing, Marsh preferred line to color and regarded drawing and printmaking as a pure art form.
	www.sama-art.org /info/perm_coll/prints/marsh.htm (173 words)

	Our Paper
		Focusing mainly on the work of Marsh, all of his paintings can be related differently by everyone but in general a large amount of what it means to be American or what it's like to live in America is demonstrated within his use of colors, symbolism, and creative style.
		Reginald Marsh’s Bowery Scene/All Night Museum is a fl and white painting of a man lying on a sidewalk who seems to be dead or injured, while two other men are standing on the curb looking the other way.
		Marsh's paintings ranged from images of negative identity in America to images of positive cultural mixes coming together and sharing ideas.
	www.msu.edu /~hamil164/paper.html (1443 words)

	Reginald Marsh (1898 - 1954) Artwork Images, Exhibitions, Reviews
		Reginald Marsh began his career as a newspaper illustrator.
		Marsh himself hailed from a wealthy family and his work can be seen as a rejection of his affluent upbringing.
		Reginald Marsh, Tug Boats in the East River, New York, 1927
	wwar.com /masters/m/marsh-reginald.html (1117 words)

	REGINALD MARSH (Site not responding. Last check: 2007-08-19)
		A keen observer of contemporary life, Reginald Marsh was unequaled at capturing on canvas the teeming urban environment of New York City.
		Leaving the portrayal of the fashionable set to others, Marsh concentrated on depicting the working-class men and women who populated the sidewalks, boardwalks, theaters, subways, and beaches of New York City and Coney Island.
		Marsh particularly loved to depict the beautiful women he observed in the street, exaggerating and idealizing them into Rubenesque goddesses.
	www.swope.org /main/collection/010coll.htm (96 words)

	March 14, 2000 (Site not responding. Last check: 2007-08-19)
		Reginald Marsh, born on March 14, 1898 in France, did not originally intend to have a career as a painter.
		Marsh continued to submit drawings to Vanity Fair, Harper's Bazaar, Esquire, Fortune, and Life even after he determined to be a painter in the 1920s.
		A frequent traveler to Europe, Marsh adapted the techniques and spatial arrangements of Old Master painting to his own canvases, but continued to prowl New York's back streets, sketching Bowery bums, burlesque queens, and the crush of people around Union Square and 14th Street.
	americanart.si.edu /1001/2000/03/031400.html (237 words)

	Reginald Marsh
		"Reginald Marsh's paintings and drawings combine an almost baroque drawing style with a newspaper reporter's attention to the minutiae of urban public life.
		Marsh's headlines, signs, and advertisements are specific and legible while his faces and figures are often indistinguishable.
		The Prints of Reginald Marsh: An Essay and Definitive Catalog of His Linoleum Cuts, Etchings, Engravings, and Lithographs, by Norman Sasowsky.
	www.artchive.com /artchive/M/marsh.html (354 words)

	Urban Realists
		Marsh used sharply defined details to add to the realism of his subjects, much in the style of the cinematic and photographic documentaries of the day.
		Marsh first learned of a recipe for egg tempera, a medium of the Renaissance, from fellow artist Thomas Hart Benton in 1929 and used it throughout the 1930s.
		Marsh uses the warm colors of red, 'orange, and ochre to convey heat, yet no sun is visible; instead the bodies themselves give off this heat.
	www.delart.org /damdocent/urbanrealists.html (8407 words)

	Reginald Marsh Online
		Reginald Marsh in the Los Angeles County Museum of Art Database
		Reginald Marsh copyright requests handled by the Artists Rights Society.
		All images and text on this Reginald Marsh page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/marsh_reginald.html (406 words)

	"Marsh, Reginald, 1898-1954" Correspondence: Thomas Merton Center (Site not responding. Last check: 2007-08-19)
		Reginald Marsh was a artist and friend of Owen Merton, Thomas' father and another artist.
		Unlike Owen, who tended toward watercolor landscapes, Marsh is often considered of the Social Realist school, reporting in detail urban life in the 1930's through his paintings and drawings.
		Merton writes to Marsh in April of 1932 while on Easter holiday from Oakham in Germany and writes again from Oakham.
	www.merton.org /Research/Correspondence/z.asp?id=2254 (509 words)

	Reginald Marsh
		Illustrator and painter Reginald Marsh was attracted to the teeming street life of New York in the 1920s and 1930s, the Bowery and Coney Island, hawkers and shopgirls, burlesque queens and down and out bums.
		Enthusiastic and likable, Marsh was a popular student and, later, teacher at the Art Students League.
		Marsh was a natural draftsman who studied anatomy, life drawing, and the works of Michelangelo, Rubens, and other Old Masters.
	www.wfu.edu /academics/art/ac_marsh_bowery.htm (184 words)

	Marsh, Reginald on Encyclopedia.com (Site not responding. Last check: 2007-08-19)
		MARSH, REGINALD [Marsh, Reginald] 1898-1954, American painter and illustrator, b.
		Reginald Marsh at D.C. Moore.(New York, New York)(Review of Exhibitions)(Brief Article)
		Marsh's Library and its early fine bindings: formed by scholars and gentleman.(Book Review)
	www.encyclopedia.com /html/M/Marsh-R1e.asp (281 words)

	Amherst College News Releases:
		She has written about Marsh, Kuhn and Thomas Eakins, and has explored such topics as neurasthenia, feminism and national identity as they relate to American art.
		Born in Paris, raised in New Jersey and educated at Yale, Reginald Marsh studied at the Art Students League under the tutelage of George Luks and John Sloan.
		A social historian of New York, Marsh was attracted to eccentric and shady characters.
	www.amherst.edu /~pubaff/news/news_releases/04/spies04.html (333 words)

	ArtLex on the Fourteenth Street School
		Fourteenth Street school refers to the work of Kenneth Hayes Miller (American,) and two of his students at at the Art Students League in New York City, Reginald Marsh (American, 1898-1954) and Isabel Bishop (American, 1902-1988).
		All three were realists in the tradition of the Italian Renaissance, Miller being closest to that tradition in the formal monumentality of his work.
		Marsh is perhaps furthest from it in the relentless documentation of the seamy side of life.
	www.artlex.com /ArtLex/f/fourteenthstreet.html (252 words)

	Nassau County Museum of Art
		Reginald Marsh, along with Edward Hopper, ranks tops among artists who depicted 20th-century American life.
		Adapting the techniques of the masters, Rubens, Titian and Rembrandt among them, Marsh created beautiful representations of New York’s colorful and flamboyant settings and characters — of the Bowery and 14th Street, of the burlesque halls, movie theaters and saloons, of the subways and of the beaches, especially Coney Island.
		Linked with this Marsh exhibition is New York: Molls, Mayhem and Murder, a chronicle of New York’s underworld in tabloid format that sets a timeline of events in painting, graphics, film and photography, music, the written and spoken word, clothing, the decorative arts and objects of the period.
	www.nassaumuseum.com /upcoming_exhibits.htm (150 words)

	Reginald Marsh
		Reginald Marsh was born in Paris, France, in 1898.
		Marsh held radical political views and provided drawings for journals such as The Masses, The Liberator and The Unemployed and associated with a group of left-wing artists such as John Sloan, George Bellows, Rockwell Kent, Alice Beach Winter, Mary Ellen Sigsbee, Cornelia Barns, Reginald Marsh, Art Young, Boardman Robinson, Robert Minor, K.
		In the 1930s he turned to painting and influenced by the ideas of Robert Henri who argued that the artist's work should be "a social force that creates a stir in the world".
	www.spartacus.schoolnet.co.uk /USAmarshR.htm (247 words)

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