Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 34 værker af Reginald Marsh i vores katalog
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Af alle de originale værker, som Reginald Marsh efterlod, er det mest berømte The Bowery (1930). Lige efter følger The Irving Place Burlesque 1930 (1913) og The Steeplechase (1932). Vores katalog indeholder 34 værker af Reginald Marsh; galleriet har bevaret de 31 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
The Bowery is a painting by Reginald Marsh created in 1930. This work depicts a crowded scene of down and out men standing along Bowery Street. Above the street level, the Third Avenue elevated railway is visible, cutting across the upper portion of the composition. The scene captures a specific segment of urban life in New York City during the 1920s and 1930s.
The Irving Place Burlesque 1930 is an etching by Reginald Marsh. The print captures a specific moment of entertainment and social interaction within a burlesque theater. It documents the atmosphere of 1930s New York, focusing on the shared experience of the audience and the performers on stage.
A monochromatic world of sharp lines and sudden shadows defines this 1932 etching. The scene is a frantic collision of muscle and metal. Horses and riders surge through a tight, compressed space, their forms defined by the heavy, rhythmic weight of the etching needle. There is no room for air here, only the urgent, overlapping geometry of a struggle. The light falls from an unseen height, catching the curve of…
The work reflects the grit of the early twentieth century. It avoids the polished surface of traditional portraiture to find truth in the unvarnished reality of the street. The lines trace the textures of a lived-in environment, where every person is a part of a larger, moving mass. There is a sense of the individual being swallowed by the collective motion of the metropolis. The boy's face, suggested by the…
Reginald Marsh, an American painter born in Paris, France, in 1898, focused his practice on the textures of urban existence. His approach to A Paramount Picture, created about 1934, aligns with his commitment to social realism. Having studied under Kenneth Hayes Miller and George Luks, Marsh developed a method for capturing the density of metropolitan life. His work often addressed the social divisions and economic pressures of the Great Depression,…
In "Asbury Park The Morrow Castle" by Reginald Marsh, a large warship anchors the center of a black and white sketch. The vessel sits heavy and still, a symbol of concentrated power amidst a sea of movement. Around this iron hull, a dense crowd gathers. Soldiers, sailors, and civilians press toward the edges of the frame, their forms arranged on both sides of the central ship to create a dynamic,…
Locomotives, Jersey City, painted by Reginald Marsh in 1934, presents a monochrome view of a train yard in Jersey City. The scene focuses on the industrial activity of a railway hub, where locomotives and various pieces of railway infrastructure occupy the space. The depiction includes human figures engaged in labor amidst the mechanical elements of the yard.
The painting titled Pursuit was created by Reginald Marsh about 1941. It captures a singular, tense moment of movement. The artist, born in Paris, France, lived from 1898 to 1954. His hand moved across the surface to fix this specific scene in time.
The air inside this dim interior feels heavy, thick with the scent of stale smoke and the low murmur of voices. A group of men gathers in a tight, restless cluster, their bodies leaning into one another as they occupy a corner of this urban sanctuary. A massive column anchors the left side of the frame, a silent, heavy presence that seems to hold up the weight of the room.…
In this 1932 work, titled Tattoo and Haircut, the artist Reginald Marsh captures a specific, unvarnished moment from the urban landscape of New York. The scene is set within the Bowery, a district of the Lower East Side, during the height of the Great Depression. It is a quiet observation of the people and the architecture that defined this particular corner of the city during a difficult era.
Madrid
12
H. Dummeyer Bar Grill
13
Golf Course Scene1922
14
Astoria, Long Island1927
15
George Tilyou's Steeplechase1932
16
U.S. Marine1934 · Museum of Fine Arts
17
In Fourteenth Street1934
18
George C. Tilyou's Steeplechase Park1936
19
Atlantic Liner in Harbor with Tug (mural study, U.S. Customs House, New York, New York)1937
20
Atlantic Liner in Harbor with Tugs (mural study, U.S. Customs House, New York, New York)1937
21
Girl Walking Verso Four Girls1947
22
Hudson Burlesk Chorus Verso Study for Hudson Burlesk Chorus1948
23
WALKING WOMAN (recto) / WOMAN IN HAT WALKING (verso)1953 · Cincinnati Art Museum
24
Hudson Theatre Verso Unfinished Study for Hudson Theatre1951
25
Coney Island Beach1953
26
Præsident Raymond S. Haupert, Moravian College1954 · Payne Gallery
27
Five Women (sketch)Pennsylvania Academy of Fine Arts
28
Striptease at New Gotham TheatreArt Institute of Chicago
29
Hudson's Burlesque
30
Merry Go Round
31
Down at Jimmy KellyChrysler Museum of Art
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Reginald Marsh | Malerier fra denne liste |
|---|---|---|---|
 Art Institute of Chicago |
Chicago | 2 | Tattoo and Haircut, Striptease at New Gotham Theatre |
 Cleveland Museum of Art |
Cleveland | 1 | A Paramount Picture |
 Toledo Museum of Art |
Toledo | 1 | Pursuit |
 Museum of Fine Arts |
Boston | 1 | U.S. Marine |
 Cincinnati Art Museum |
Cincinnati | 1 | WALKING WOMAN (recto) / WOMAN IN HAT WALKING (verso) |
 Payne Gallery |
Bethlehem, Pennsylvania | 1 | Præsident Raymond S. Haupert, Moravian College |
 Pennsylvania Academy of Fine Arts |
Philadelphia | 1 | Five Women (sketch) |
 Chrysler Museum of Art |
Norfolk | 1 | Down at Jimmy Kelly |
Vælg et årti for at se det originale værk, der definerer det.
The Irving Place Burlesque 1930 is an etching by Reginald Marsh. The print captures a specific moment of entertainment and social interaction within a burlesque theater. It documents the atmosphere of 1930s New York, focusing on the shared experience of the audience and the performers on stage.
The Bowery is a painting by Reginald Marsh created in 1930. This work depicts a crowded scene of down and out men standing along Bowery Street. Above the street level, the Third Avenue elevated railway is visible, cutting across the upper portion of the composition. The scene captures a specific segment of urban life in New York City during the 1920s and 1930s.
The painting titled Pursuit was created by Reginald Marsh about 1941. It captures a singular, tense moment of movement. The artist, born in Paris, France, lived from 1898 to 1954. His hand moved across the surface to fix this specific scene in time.
The Bowery (1930). Derefter følger The Irving Place Burlesque 1930 (1913) og The Steeplechase (1932).
32 år gammel: The Bowery er fra 1930, og Reginald Marsh blev født i 1898.
The Bowery, The Irving Place Burlesque 1930, The Steeplechase, Milo the Mule Face Boy, A Paramount Picture, Asbury Park The Morrow Castle, Locomotives, Jersey City, Pursuit, Bowery Quartet og Tattoo and Haircut. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 34 værker af Reginald Marsh, dateret fra 1913 til 1954.
Primært i Art Institute of Chicago (Chicago), Cleveland Museum of Art (Cleveland) og Toledo Museum of Art (Toledo). Museumslisten ovenfor viser dem alle.
I 1930s: 12 af de 31 værker på denne side blev skabt dengang, herunder The Bowery.
På denne side er det tidligste The Irving Place Burlesque 1930 (1913) og det seneste Præsident Raymond S. Haupert, Moravian College (1954).
People (5), American art (3) og Crowd (2), fordelt på de 31 værker på denne side.
Etching, for 3 af de 31 værker på denne side.
Social realism, baseret på originalerne på denne side.
Tattoo and Haircut og Striptease at New Gotham Theatre: Art Institute of Chicago, Chicago har 2 af værkerne på denne side.
Reginald Marsh står som en central skikkelse inden for amerikansk socialrealisme, berømt for sine slående detaljerede skildringer af New York City i 1920'erne og 1930'erne. Mere end blot at dokumentere scener fra Coney Islands strande eller burleske forestillinger – selvom disse utvivlsomt befolker hans værk – legemliggør Marsh's kunst en dyb engagement med teksturerne og rytmerne i bylivet, understøttet af en urokkelig dedikation til kunstnerisk udforskning. Hans eftermæle findes ikke kun i hans ikoniske billeder, men også i hans pionerteknikker og vedvarende indflydelse på efterfølgende generationer af kunstnere.
Født i Paris i 1898 over Café du Dome, var Marsh's formative år præget af en rig kunstnerisk arv. Som søn af Frederick Dana Marsh – en muralist, der fremmede amerikansk impressionisme – og Alice Randall – en miniaturistmaler – voksede Marsh op i et miljø, hvor kreativiteten blomstrede fra hans tidligste dage. Ved toårsalderen flyttede han til Nutley, New Jersey, hvor han nød godt af nærheden til Frank Fowlers kunstkoloni, et fristed for amerikanske malere, der søgte inspiration og kammeratskab, hvilket yderligere cementerede hans forbindelse til den kunstneriske tradition. Denne tidlige eksponering for både miniaturemaleriets delikate præcision og muralismens storslåede skala ville senere forme hans evne til at indfange både det intime menneskelige øjeblik og metropolens overvældende energi.
Marsh's vej mod at blive en mester i urban realisme var langt fra lineær. Han gennemførte sin formelle uddannelse med stor flid og opnåede en bachelorgrad i jura fra Yale University i 1920, før han efterfølgende fordybede sig i kunststudier ved Yale Art School. I denne periode finpudsede han sine færdigheder som illustrator for Yale Record, hvor han blev opslugt af det livlige studieliv og udviklede en tidlig beherskelse af visuel historiefortælling. Denne formative periode styrkede hans kunstneriske sans og forberedte ham på en karriere dedikeret til at indfange essensen af den menneskelige erfaring gennem overbevisende billedsprog.
Da hans professionelle rejse begyndte i New York City, søgte Marsh utrætteligt efter at dokumentere gaderne puls. Hans arbejde benyttede ofte forskellige medier for at opnå specifikke atmosfæriske effekter, der strakte sig fra den rå energi i tegnestifter og gouache til de tykke, dynamiske impasto-lag i oliemalerier. Uanset om han skildrede den hedonistiske atmosfære på Jimmy Kelly's burleske natklub eller den maritime handel fundet i hans muralstudier som Atlantic Liner in Harbor, besad Marsh en unik evne til at oversætte byens kaos til strukturerede, rytmiske kompositioner.
Betydningen af Reginald Marsh ligger i hans rolle som visuel historiker for en svunden æra. Hans værk fungerer som et vindue ind i den socialrealistiske bevægelse, med fokus på arbejderklassens liv og den rå, uforfalskede virkelighed i New Yorks mest berømte distrikter, såsom Bowery og Coney Island. Hans malerier er karakteriseret ved:
Udover sine overfyldte gadescener udviste Marsh også en bemærkelsesværdig kapacitet for portrætkunst, hvor han blandede realisme med subtile følelser, som det ses i hans sort-hvide oliemalerier. Gennem sin dedikation til den "urbane råhed" gjorde Reginald Marsh mere end blot at male New York; han udødeliggjorde dens sjæl og sikrede, at energien fra det tidlige tyvende århundrede ville fortsætte med at genlyde gennem årtierne.
