Felicia Meyers, who is also an artist. While Marsh’s is not an overintellectualized art,
Felicia has a certain naive hauteur that recalls certain portraits of the Renaissance.
It reminds one that Marsh has studied the Old Masters intensively.
Here he has caught the secret of the greatest portraits: getting something of the
sitter’s substance as well as her likeness. The quaint,’ grave charm of Felicia
represents a side of Marsh’s art that may surprise those who know only his studies of Manhattan low life.