Vintage Art Masterpieces,Vintage Prints for Sale Wooden Horses by REGINALD MARSH

Wooden Horses by REGINALD MARSH

Wooden Horses by REGINALD MARSHWooden Horses by REGINALD MARSH

REGINALD MARSH {American School}

IN THE younger generation of American artists, those who have come for­
ward since the great war, Reginald Marsh stands apart as the offspring of the
city, a painter concerned exclusively with the urban scene.

After his schooling at Lawrenceville and Yale, he settled in New York, and in a short time became
conspicuous for his studies of the humbler aspects of metropolitan life.

 

 

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In­fluenced by the robust Americanism of John Sloan, and with the same eye
for significant detail, Marsh turned his back on the esthetic whims and the­
stories of the day, and established headquarters in lower Manhattan.

A man of even temperament, with no disposition to take sides in economic or social
issues, or to whip himself into a fighting rage, he is an observer of life, or
that very real slice of it extending from the shop and subway to the dance hall
and Coney Island.

Other artists have painted the city, but with a grinning
cynicism, or a political bias that destroys reality:

Marsh, in contrast, really
loves New York and all its grand vulgarity.

The smart circles of society leave him cold; well-bred people bore him,
and he cannot paint them with any degree of success. He is interested in the
submerged orders-in their vigorous sensuality which he accepts as frankly
and affectionately as Renoir accepted it.

He paints Harlem and the Bowery,the parks and the bread lines; and he paints the shopgirls of Fourteenth Street
and the girls of the public beaches and burlesque shows with sensual tender­
ness and deep appreciation of the enticements of exposed flesh.

He is an artist of power, one of the best of living draftsmen, with a steady flow of productive
energy directed into etchings of the highest quality, tempera paintings, and
murals. His decorations, in fresco, in the Customs House of New York,

a Federal commission for which he received the wages of a day laborer, are
monumental representations of great ocean liners and the congested excite­
ments of landings and departures.

Marsh has developed an original method of painting in transparent glazes
which lend a curiously vibrating quality to his surfaces but which are difficult
to reproduce.

Wooden Horses is an illustration of this personal method: a
section from the playgrounds of New York, with the surge of light and color,
and the irresponsible animation of his favorite actors in the metropolitan
carnival.

 

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