the street, in the subway, or at the beach. Marilyn Cohen calls Marsh's sketchbooks "the foundation of his art. They show a passion for contemporary detail and a desire to retain the whole of his experience". He drew not only figures but costumes, architecture, and locations. He made drawings of posters and advertising signs, the texts of which were copied out along with descriptions of the colors and use of italics. In the early 1930s he took up photography as another means of note taking. Signage, newspaper headlines, and advertising images are often prominent in Marsh's finished paintings, in which color is used to expressive ends—drab and brown in Bowery scenes; lurid and garish in sideshow scenes. Burlesque and the Bowery The drawings of burlesque and vaudeville acts Marsh made in the 1920s for the New York Daily News are among the first of his many images of popular theater. Such entertainments flourished throughout the country and were available all over New York City. The burlesque that Marsh captured can be described as raunchy and vulgar, but also comedic and satiric. Marsh's drawings depict chorus girls, clowns, theater goers and strippers. Burlesque was "the theater of the common man; it expressed the humor, and fantasies of the poor, the old, and the ill-favored." Marsh continued his burlesque sketches during his trip to Paris in 1925. In 1930, Marsh was well off; he was successful in his career and had inherited a portion of his grandfather's money. Nonetheless, the lower class members of society were his preferred subject matter, as he contended that "well bred people are no fun to paint". Marsh's Bowery scenes depict people who had a crisis thrust upon them, which is why his work shows a loss of human integrity and control in all aspects. His etching Bread Line—No One Has Starved (1932) depicts a row of men in a frieze-like arrangement that emphasizes their immobility. (The print's title mocks a complacent remark made by President Hoover.) Coney Island and sea ports Marsh liked to venture to Coney Island to paint, especially in the summer time. There he began to paint massed beached bodies. Marsh emphasizes the bold muscles and build of his characters, which relate to the heroic scale of the older European paintings. Marsh said "I like to go to Coney Island because of the sea, the open air, and the crowds—crowds of people in