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The sketchbooks of Reginald Marsh
Reginald Marsh (March 14, 1898 – July 3, 1954) was an American painter, born in Paris, most notable for his depictions of life in New York City in the 1920s and 1930s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. He painted in egg tempera and in oils, and produced many watercolors, ink and ink wash drawings, and prints.
- GenresArt
168 pages, Hardcover
Published January 1, 1973
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December 30, 2009
Poor Reginald Marsh. Like most American artists before abstract expressionism, he's been consigned to the local yokel bin of regionalists. He's lumped in with the Ash Can school, which is kind of an "atta boy" from the art historians. Patronizing and inadequate.
Marsh was an incredible draftsman with a lively line and restless curiosity. He had his pet subjects -- Coney Island, city girls, burlesque, street scenes -- and his best work was in mediums (watercolor and ink) that don't bring fame or a lasting reputation. But if you're curious about this artist (and you should be) this book is a wonderful introduction.
It compiles the best of his endless sketchbooks that Marsh carried around the city, always drawing. There are drawings of his lower body while he was getting surgery. There are drawings he made in his pocket at a burlesque house that had banned any kind of drawing. And, of course, there are many selections from his looking around New York and seeing the endless motion of the city. The introduction is very fine and extensive, written by a friend of Marsh's and a fellow artist. He talks about Marsh's methods and how he'd work and recalls spending days where Marsh would go all over the city being comped by people who had been enchanted by this artist who deserves to be pulled out of the Ash Can.
Marsh was an incredible draftsman with a lively line and restless curiosity. He had his pet subjects -- Coney Island, city girls, burlesque, street scenes -- and his best work was in mediums (watercolor and ink) that don't bring fame or a lasting reputation. But if you're curious about this artist (and you should be) this book is a wonderful introduction.
It compiles the best of his endless sketchbooks that Marsh carried around the city, always drawing. There are drawings of his lower body while he was getting surgery. There are drawings he made in his pocket at a burlesque house that had banned any kind of drawing. And, of course, there are many selections from his looking around New York and seeing the endless motion of the city. The introduction is very fine and extensive, written by a friend of Marsh's and a fellow artist. He talks about Marsh's methods and how he'd work and recalls spending days where Marsh would go all over the city being comped by people who had been enchanted by this artist who deserves to be pulled out of the Ash Can.
Displaying 1 of 1 review