all directions, in all positions, without clothing, moving—like the great compositions of Michelangelo and Rubens." Marsh was drawn to the ports of New York. In the 1930s, the harbors were extremely busy with people and commerce due to the country's necessity for economic recovery. The Great Depression brought about a decline in raw materials and therefore the demand for those materials grew dramatically, resulting in bustling harbors in big cities such as New York. Marsh would sketch the seaports, focusing on the tugboats coming in and out of the harbor, and capturing the details of the boats such as the masts, the bells, the sirens, and the deck chairs. New York City crowds and women As on Coney Island, Marsh captured the crowds of the bustling inner city life. Marsh spent a lot of his time on the sidewalks, the subways, the nightclubs, bars and restaurants finding the crowds. He also loved to single people out on the trains, in the parks, or in ballrooms to capture a single human figure in isolation from the rest of the city. Marsh was obsessed with the American woman as a sexual and powerful figure. In the 1930s during the Great Depression, more than 2 million women lost their jobs, and women were said to be exploited sexually. Marsh's work shows this exploitation by portraying men and women in the same paintings. The women may be half clothed or fully naked, and are purposeful and strong; the men are voyeurs, often less imposing than the women. According to art historian Marilyn Cohen, "[Marsh's] world is filled with display: movies, burlesque, the beach, and all forms of public exhibition. Men and women are both spectators and performers within a heavily sexualized world. And Marsh was clearly fascinated by both aspects of that world—almost always presenting its two sides in the same image." Later life His work was part of the art competitions at the 1932 Summer Olympics and the 1936 Summer Olympics. During the 1940s and for many years, Marsh became an important teacher at the Art Students League of New York, which ran a summer camp where Marsh's students included Roy Lichtenstein. Lichtenstein was influenced by Marsh's subject matter in his work. Also in the '40s, Marsh began making drawings for magazines such as Esquire, Fortune, and Life. A degree of mannerism is apparent in his later paintings, in which wraithlike figures "float