Two Girls in the Wind

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Reginald Marsh
Two Girls in the Wind
1938, 1969

About the Item

Artist: Reginald Marsh – American (1898-1954) Title: Two Girls in the Wind (Saskowsky 176) Year: 1938, This one from the posthumous edition authorized by the Whitney Museum, 1969 Medium: Etching Plate size: 5 x 4 inches. Framed size: 17.25 x 13.25 inches Signature: Unsigned – bears the Whitney Museum blindstamp, lower right Edition: 100. This one: 19/100. Condition: Very good Frame: Framed in original metal frame. Frame in good condition This etching is by Reginald Marsh (1898-1954). The etching was originally published in 1938. In 1969, the Whitney Museum authorized the posthumous edition of 100. It was distributed through AAA – Associated American Artists in 1971. This etching bears the blindstamp of the Whitney Museum in the lower right. The print is in very good condition, not examined out of the frame. The print is double matted, with a linen outer mat – all acid-free. The metal frame is gray and textured black. It goes well with the print. 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. Childhood and education Reginald Marsh was born in an apartment in Paris above the Café du Dome. He was the second son born to American parents who were both artists. His mother, Alice Randall was a miniaturist painter and his father, Frederick Dana Marsh, was a muralist and one of the earliest American painters to depict modern industry. Marsh attended the Lawrenceville School and graduated in 1920 from Yale University. At Yale Art School he worked as the star illustrator and cartoonist for campus humor magazine The Yale Record. He moved to New York after graduation, where his ambition was to find work as a freelance illustrator. In 1922, he was hired to sketch vaudeville and burlesque performers for a regular New York Daily News feature. Although not primarily remembered as a cartoonist, he was a prolific and thoughtful contributor to The New Yorker from 1925 to 1944. He also created illustrations for the New Masses (an American Marxist journal published from the 1920s to the 1940s). Training and influences A casual interest in learning to paint led Marsh, in 1921, to begin taking classes at the Art Students League of New York, where his first teacher was John Sloan. By 1923 Marsh began to paint seriously. In 1925, Marsh visited Paris for the first time since he had lived there as a child and he fell in love with what the city had to offer him. Although Marsh had appreciated the drawings of Raphael, Leonardo da Vinci and Michelangelo since he was a child—his father's studio was full of reproductions of the old masters' work—the famous paintings that he saw at the Louvre and other museums stimulated in him a new fascination with those painters. While exploring the works of European painters such as Titian, Tintoretto, and Rubens, Marsh met Thomas Hart Benton in one of the galleries in France. Benton, known today as a social realist, and regionalist painter, was also a great student of the Baroque masters. The resemblance Marsh saw between Tintoretto's famous works and Benton's motivated Marsh to try to paint in a similar way. Following his European trip (in which he also visited Florence) Marsh returned to New York with a desire to utilize the principles he felt were evident in the art of the Renaissance painters—particularly the way large groups of figures, together with architecture or landscape elements, were organized into stable compositions. Marsh then studied under Kenneth Hayes Miller and George Luks, and chose to do fewer commercial assignments. Miller, who taught at the Art Students League of New York, instructed Marsh on the basics of form and design, and encouraged Marsh to make himself known to the world. He looked at Marsh's early, awkward burlesque sketches and at his more conventional landscape watercolors and said, "These awkward things are your work. These are real. Stick to these things and don't let anyone dissuade you!" By the beginning of the 1930s Marsh began to express himself fully in his art. As late as 1944, Marsh wrote, "I still show him every picture I paint. I am a Miller student." Marsh began to work with John Steuart Curry after his training with Miller. Both Marsh and Curry took lessons from Jacques Maroger, whom Marsh met in New York City in 1940. Marsh at work Marsh's etchings were his first work as an artist. In the early 1920s, he also made several linocuts, and later produced lithographs and engravings. He kept careful watch of the technique he used for his prints, noting the temperature of the room, the age of the bath that his plates were soaked in, the composition, and the length of time the plate was etched. When making prints of the etchings Marsh recorded how long the paper soaked for, the heating of the plate, and the nature of the ink used. Marsh enjoyed experimentation with all his artworks and was therefore renowned for his unique techniques. In the early 1920s, he began to work with watercolor and oil. He did not take to oil naturally and decided to stick to watercolor for the next decade. Yet, in 1929 he discovered egg tempera, which he found to be somewhat like watercolor but with more depth and body. Subjects Reginald Marsh rejected modern art, which he found sterile. Marsh's style can best be described as social realism. His work depicted the Great Depression and a range of social classes whose division was accentuated by the economic crash. His figures are generally treated as types. "What interested Marsh was not the individuals in a crowd, but the crowd itself ... In their density and picturesqueness, they recall the crowds in the movies of Preston Sturges or Frank Capra". Marsh's main attractions were the burlesque stage, the hobos on the Bowery, crowds on city streets and at Coney Island, and women. His deep devotion to the old masters led to his creating works of art in a style that reflects certain artistic traditions, and his work often contained religious metaphors. Marsh filled sketchbooks with drawings made on the street, in the subway, or at the beach. Marilyn Cohen calls Marsh's sketchbooks "the foundation of his art. They show a passion for contemporary detail and a desire to retain the whole of his experience". He drew not only figures but costumes, architecture, and locations. The drawings of burlesque and vaudeville acts Marsh made in the 1920s for the New York Daily News are among the first of his many images of popular theater. Such entertainments flourished throughout the country and were available all over New York City. The burlesque that Marsh captured can be described as raunchy and vulgar, but also comedic and satiric. Marsh's drawings depict chorus girls, clowns, theater goers and strippers. Burlesque was "the theater of the common man; it expressed the humor, and fantasies of the poor, the old, and the ill-favored."[8] Marsh continued his burlesque sketches during his trip to Paris in 1925. Marsh was obsessed with the American woman as a sexual and powerful figure. In the 1930s during the Great Depression, more than 2 million women lost their jobs, and women were said to be exploited sexually. Marsh's work shows this exploitation by portraying men and women in the same paintings. The women may be half clothed or fully naked, and are purposeful and strong; the men are voyeurs, often less imposing than the women. According to art historian Marilyn Cohen, "[Marsh's] world is filled with display: movies, burlesque, the beach, and all forms of public exhibition. Men and women are both spectators and performers within a heavily sexualized world. And Marsh was clearly fascinated by both aspects of that world—almost always presenting its two sides in the same image." Later life During the 1940s and for many years, Marsh became an important teacher at the Art Students League of New York, which ran a summer camp where Marsh's students included Roy Lichtenstein. Lichtenstein was influenced by Marsh's subject matter in his work Shortly before his death he received the Gold Medal for Graphic Arts awarded by the American Academy and the National Institute for Arts and Letters. Source: Wikipedia

Creator:
Reginald Marsh (1898-1954, American)
Creation Year:
1938, 1969
Dimensions:
Height: 17.25 in (43.82 cm)Width: 13.25 in (33.66 cm)Depth: 1.5 in (3.81 cm)
Medium:
Paper,Etching
Movement & Style:
Realist
Period:
1930-1939
Condition:
The print is in very good condition, not examined out of the frame. The mat and frame are in very good condition.
Gallery Location:
San Francisco, CA
Reference Number:
Seller: PM04252021-41stDibs: LU66637977112