Similar to Lawrence's «Migration Series,» the narrative
tempera on composition board works convey an important story in spare scenes — the painter's first - hand experiences serving in the U.S. Coast Guard during World War II.
Although he learned his bulky forms at the conservative Art Students League, where Kenneth Hayes Miller and Guy Pene de Bois tempered their Modernism with reverence for the past, Marsh alone stuck to egg
tempera on composition board and Masonite.
images: Charles Demuth, Buildings, 1930 — 1931,
tempera and plumbago
on composition board, Dallas Museum of Art, Dallas Art Association Purchase Fund, Deaccession Funds / City of Dallas (by exchange) in honor of Dr. Steven A. Nash, 1988.21; «Skyscraper» Cocktail Shaker and Lid, c. 1928 — 1931, William Waldo Dodge, Jr. (Designer), Silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1.A - B; Charles Sheeler, Suspended Power, 1939, oil
on canvas, Dallas Museum of Art, gift of Edmund J. Kahn, 1985.143