Hauptmann must die, 1935 500.000 Czechs on nazi front Woman reading a newspaper on a subway Three women, 1933 Subwa...
Negroes On Rockaway Beach George C. Tilyou's Steeplechase Park Coney Island Hauptmann Must Die Tattoo And Haircut Twenty-Cent Movie Lucky Dare-Devils (The Thrill Of Death) High Yaller Monday Night At The Metropolitan A Paramount Picture Three Girls Standing Why Not Use The L? Usherette Hudson Bay Fur Company End Of 14th Street Crosstown Line Pip…
Marsh was a keen observer of people and his exuberant, documentary style paintings are unique in their focus on crowds rather than individuals.
Both theatrical and cinematic in its conception, the subject of Reginald Marsh’s Twenty Cent Movie was the Lyric Theatre in New York City. The movie marquee images and advertising signs in the background are based on contemporary films, actors, and actresses, with the theater’s double bill of movies joining We Live Again—an adaptation of a tragic novel by Leo Tolstoy—with an upbeat musical comedy called Moonlight and Pretzels (upper left). Here, Marsh’s meticulous replication of the signage suggests a wry commentary on the figures he depicts. The foreground scene resembles a stage set, with “real-life” stars, bit-players, and extras poised for action. The women in the painting wear cheap imitations of the latest Hollywood styles, while the man on the far right adopts the self-assured posture and flamboyant suit worn by the beloved gangsters of 1930s cinema. In an era when the movie star became the nation’s dominant icon, Marsh’s characters reflect the longings and aspirations projected from the cinematic screen. The advertising copy for upcoming attractions—“Human Emotions Stripped Bare” and “Joys of the Flesh”—suggests the possibility of intimate exchange, but Marsh’s characters are too occupied with posing to interact with their environment or each other.
This painting depicts Coney Island, the popular-priced Brooklyn beach resort and amusement park that attracted New York's large urban populace during the Great Depression of the 1930s. Easily and inexpensively accessible by subway, Coney Island offered a welcome sea breeze to the masses confined in the city on a hot summer day. Marsh first went to the Brooklyn amusement park on assignment as an illustrator at the suggestion of Frank Crowninshield, the editor of Vanity Fair magazine. [Museo Thyssen-Bornemisza, Madrid - Watercolour on masonite, 91.4 x 122 cm]
Tobacco Road
Reginald Marsh, People Seated and Standing in Subway, c. 1930. Oil and tempera on canvas, overall: 36 1/8 × 48 in. (91.8 × 121.9 cm). Whitney Museum of American Art, New York; Felicia Meyer Marsh Bequest 80.31.8. ©Estate of Reginald Marsh/Art Students League, New York/Artists Rights Society (ARS), New York
Best known for his drawings and paintings of crowds at Coney Island's beach, artist Reginald Marsh also took photos with a 35mm Leica beginning in 1938. These images from the 1930's and '40s by Marsh are from a portfolio of 50 photographs of New York City published in 1977, which is currently offered for sale.…
Bacchus Marsh
View Strongman and Lady Friend By Marsh Reginald; Oil on board; 5 x 4 in; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
A little piece of history nestling amongst the salt marsh reeds… Taken yesterday in Blakeney in Norfolk.
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Kym Marsh packed on the PDA with new toyboy boyfriend Samuel Thomas as they arrived at Manchester train station on Sunday.
REGINALD MARSH - "Tenth Ave. at West 27th Street" (On extended loan to the Art Museum, University of Saint Joseph, West Hartford, CT.) Collection of Ken Ratner. Loaned in loving memory of his brother, Robert Ratner.
Kym hit the red carpet for the Pride Of Manchester Awards at The Kimpton Clocktower Hotel on Wednesday night- but her wedding and engagement ring were absent.
Marshes
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Rodney MARSH, Brief biography of his cricket career., Australia