Word: marsh
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Dates: during 1950-1959
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...late Reginald Marsh was a short, stocky, inconspicuous man, who for 34 memorable years moved quietly and almost invisibly about Manhattan with sketch pad and fountain pen. When he died last year at 56, the graphic record he left behind told what he had best loved and captured: the big city with its derelict Bowery bums, jaded burlesque queens and their wise-guy following of touts and sports, the day-to-day lives of Manhattan's anonymous masses, and everywhere-lolling on the beaches, powdering their noses in the mirror of a subway gum machine or just striding, windblown...
...Stare, Stare, Stare." From the beginning it was almost inevitable that Marsh should devote his life to art. Born over a small cafe on Paris' Left Bank, the son of artist parents, Marsh was drawing before he was three. After Lawrenceville and Yale ('20), he got his first job as an artist for the New York Daily News, doing city scenes and theater sketches which, for Marsh, "took the place of an art school." When Marsh was 27. a trip to Paris and an introduction to the Louvre's old masters turned him seriously to painting...
...Marsh later passed on to his students the lessons he learned from Renaissance...
...head, copy and learn by heart the heads of Da Vinci; for the body, Michelangelo and Durer; for everything, Rubens." Having learned from art, Marsh turned to life: "Go out into the streets, stare at the people. Go into the subway. Stare at the people. Stare, stare, keep on staring...
Along with Rufus Marsh, Gitter himself rounds out the list of tenants in the cast. One good directing touch comes in the last scene, when he has the poet turn his back to the audience in despair. Shadow of a Gunman may not warrant a wildly enthusiastic audience this afternoon and evening, but it certainly deserves a critical...