Reginald Marsh (Maler)

Louis Bouche, Reginald Marsh und William Zorach, 1940

Reginald Marsh (* 14. März 1898 in Paris; † 3. Juli 1954 in Dorset, Vermont) war ein amerikanischer Maler des Social realism (Neue Sachlichkeit).

Leben

Reginald Marshs Eltern waren die Maler Alice Randall und Frederick Dana Marsh. Er war Student und Lehrer an der Art Students League of New York. Er war in zweiter Ehe verheiratet mit der Malerin Felicia Meyer Marsh.

Marsh ist besonders bekannt für Bilder des New York und Coney Islands der 1930er und 1940er Jahre. Seine Themenwahl war häufig von Sexualität und Humor geprägt und galt unter anderem dem Burlesque. Er fotografierte auch in New York, zu seinen Motiven zählten Straßenszenen, Coney Island, Strandszenen, die U-Bahn und der Hafen.[1]

Marsh starb 56-jährig an einem Herzinfarkt.

Marshs Gemälde Zweigroschen-Kino (Twenty-Cent Movie, 1936) wurde bei den 1000 Meisterwerken vorgestellt.

2013 fand in der New-York Historical Society die Ausstellung Swing Time: Reginald Marsh and Thirties New York statt, die vielfältig rezensiert wurde.[2][3]

1946 wurde er in die American Academy of Arts and Letters gewählt.[4]

Schüler

Werke (Auswahl)

Sorting the Mail, 1936
Unloading the Mail, 1936
  • 1930 Why Not use the L?, Whitney Museum of American Art
  • 1932 Tattoo Haircut-Shave, Art Institute of Chicago
  • 1933 Star Burlesque, Curtis Galleries
  • 1934 Smoke Hounds, Corcoran Gallery of Art
  • 1935 Striptease at New Gotham, William Benton Museum of Art
  • 1936 Twenty-Cent Movie (Zweigroschen-Kino), Whitney Museum of American Art
  • 1936 Sorting the Mail, William Jefferson Clinton Federal Building, Muralismo
  • 1936 Unloading the Mail, William Jefferson Clinton Federal Building, Muralismo
  • 1946 Girl on Merry Go Round

Schriften

  • Reginald Marsh: Anatomy for artists. Dover Publications, New York 1970, ISBN 0-486-22613-1, S. 209 (englisch).
  • Reginald Marsh: Die Traumfrau. S. Fischer, Frankfurt 1977, DNB 780076184, S. 149 (englisch: You're out of my mind! Übersetzt von Sibylle Neff-Hunzinger).

Literatur

  • A. Wagner-Wilke: Marsh, Reginald. In: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL). Band 87, De Gruyter, Berlin 2015, ISBN 978-3-11-023253-0, S. 300 f.
  • Edward Laning: The sketchbooks of Reginald Marsh. New York Graphic Society, New York 1973, ISBN 0-8212-0538-2, S. 168 (englisch).
  • Norman Sasowsky: The prints of Reginald Marsh: an essay and definitive catalog of his linoleum cuts, etchings, engravings, and lithographs. C.N. Potter, New York 1976, ISBN 0-517-52493-7, S. 287 (englisch).
  • Marilyn Cohen: Reginald Marsh's New York: paintings, drawings, prints, and photographs. Dover Publications, New York 1983, ISBN 0-486-24594-2, S. 115 (englisch, Ausstellung im Whitney Museum of American Art).
  • Kathleen Spies: Girls and Gags: Sexual Display and Humor in Reginald Marsh’s Burlesque Images. In: American Art. Volume 18, Nr. 2. University of Chicago Press, 2004, ISSN 1073-9300, S. 32–57, doi:10.1086/424789 (englisch).
  • Morris Dickstein u. a.: Swing Time: Reginald Marsh and Thirties New York. Hrsg.: Barbara Haskell, New-York Historical Society. Giles, New York 2012, ISBN 978-1-907804-09-0, S. 176 (englisch, Ausstellung der New-York Historical Society, 21. Juni – 2. September 2013).
Commons: Reginald Marsh – Sammlung von Bildern

Einzelnachweise

  1. ↑ http://antiquephotographics.com/marsh/ abgerufen am 20. November 2015
  2. ↑ http://www.wsj.com/articles/SB10001424127887323823004578593570548149726 abgerufen am 20. November 2015
  3. ↑ Sarah Kaufman: Art review: ‘Swing Time: Reginald Marsh and Thirties New York’. In: washingtonpost.com. 16. August 2013, abgerufen am 4. Februar 2024 (englisch).
  4. ↑ Members: Reginald Marsh. American Academy of Arts and Letters, abgerufen am 12. April 2019.
Personendaten
NAMEMarsh, Reginald
KURZBESCHREIBUNGamerikanischer Maler
GEBURTSDATUM14. März 1898
GEBURTSORTParis
STERBEDATUM3. Juli 1954
STERBEORTDorset

Auf dieser Seite verwendete Medien

Archives of American Art - Louis Bouche, Reginald Marsh- and William Zorach - 2481.jpg
Marsh, Bouche and Zorach with a poster advertising an WPA-Federal Art Project; exhibiton of art held at the Whitney Museum from Nov. 25 to Dec. 1, 1940.

Identification on verso (handwritten and stamped): New York City W.P.A. Srt Project; Photography Division; 110 King Street
Neg. No.: 5310-2; Date: 10/22/40; Title: Exhib of Art Week; Location: Whitney Mus. 10 W 8 St. Man; Photog.: Saltsberg; W.P. No. 1; O.P. No.: 65-1-97-2063.

Published in: Archives of American Art Journal v. 4, no. 1, p. 4
Mural-Ariel-Rios-Marsh-1.jpg
Photograph of mural "Sorting the Mail" by Reginald Marsh at the Ariel Rios Federal Building, Washington, D.C.
Notes:
  • Date: 1936; dimensions: 6' 7" x 12' 6".
  • Photographed as part of an assignment for the General Services Administration.
  • Title, date and keywords from information provided by the photographer.
  • Credit line: Photographs in the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division.
  • Gift; Carol M. Highsmith; 2009; (DLC/PP-2009:083).
  • Forms part of: Photographs in the Carol M. Highsmith Archive.

More information at The Living New Deal
Mural information from the General Services Administration:

Like Alfred D. Crimi, whose murals are located on the same floor of the William Jefferson Clinton Federal Building, Marsh chose to depict the activities of the urban mailroom. Also like Crimi, Marsh made on-site preparatory sketches. He studied the railway mail service located under old Penn Station in New York, as well as the New York post office department building, observing the modern machinery, interviewing postal workers, and making sketches as they unloaded and transferred mail cargo. Marsh's depiction differs, though, from the easy interaction between men and machines portrayed in Crimi's mural, as well as the staid calm of the railway mailroom shown in a sketch for an unrealized mural by Regionalist artist Thomas Hart Benton. In contrast to these, Marsh's murals bring to life the frenzied energy of workers and their machines in what the New York Times called a "brilliant orchestration of labyrinthine structural rhythms."
In the mural's lower portion, muscular men lift and drag large bags of mail. Their varied skin tones and apparel indicate a diverse work force, and their physiques convey heroic strength and power. The upper portion of the fresco—rendered in shades of green, black, and white—showcases the machinery that moves the mail in all directions. Marsh's intricate composition and confident technique capture both the mechanization of systems and the importance of workers.
Mural-Ariel-Rios-Marsh-2.jpg
Photograph of mural "Unloading the Mail" by Reginald Marsh at the Ariel Rios Federal Building, Washington, D.C.
Notes:
  • Date: 1936; dimensions: 6'7" x 12' 6".
  • Photographed as part of an assignment for the General Services Administration.
  • Title, date and keywords from information provided by the photographer.
  • Credit line: Photographs in the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division.
  • Gift; Carol M. Highsmith; 2009; (DLC/PP-2009:083).
  • Forms part of: Photographs in the Carol M. Highsmith Archive.

More information at The Living New Deal
Mural information from the General Services Administration:

Unloading the Mail emphasizes the international communication allowed by the exchange of mail. Marsh was inspired by his visits to RMS Berengaria docked in New York harbor. The ship was one of the largest in the Cunard Line, a transatlantic shipping company dating back over a century, which brought mail to American shores from around the globe. It is clear from his sketches that Marsh closely observed the exterior of the ship, but in the mural he focused on the activities that occurred in the harbor boat. Mailbags from France, Austria, Sweden, Great Britain, Italy, Switzerland, and India are being transferred from the ocean liner onto a harbor boat that will take the cargo to shore for distribution. The recently enhanced New York skyline can be glimpsed out the window on the left and, in the mural's lower left corner, a man takes careful note of the mail being received.