Viewing page 3 of 10

This transcription has been completed. Contact us with corrections.

3 3 

million near naked bodies could be seen at once, a phenomenon unparalleled in history ... New York was in a period of rapid growth, its skyscrapers thrilling by growing higher and higher. There was a wonderful water front with tugs and ships of all kinds and steam locomotives on the Jersey shore. In and around were dumps, docks and slums all wonderful to paint and, in the city, subways, people and burlesque shows where we would sit in undisturbed comfort to study the male patrons grouped in boxes resembling the opera in Paris enjoying the ladies of the chorus lighted to show their bodies and costumes.... ." Marsh had a passionate appetite to "put it all down" as it was in nature, and also to present these subjects as moving and in flux. He wished to retain [[strikethrough]] that [[/strikethrough]] the casual, informed and heterogenous character of these scenes, and yet to present [[strikethrough]] it [[/strikethrough]] them all in a powerful art-form, which, above all, requires unity. Marsh's device for dealing with this problem, the device on which he relied to the utmost for unity,