|This biography from the Archives of AskART:|
|Born in 1872 in Chicago, son of James Marsh, a stockyards commission
merchant and wealthy pork packer, Frederic Marsh Frederic Marsh had a wide-ranging career, which included paintings of
Parisian scenes; industrial genre influenced by his observations in New
Jersey; World War I poster designs; murals for Hudson River Lines,
Grosse Pointe, Michigan Country Club and Rensselear Polytechnic
Institute in Troy, New York; and pictorial maps for John D. Rockefeller,
Jr., William Rockefeller and E.F. Hutton. His clients included D.
Rockefeller Jr., William
Rockefeller, E.H. Hutton, Herbert Pratt and other millionaires.|
In 1902, Marsh was elected to the Society of American Artists, which in 1906 merged with its members into the National Academy of Design.
At age 16, Frederic began working for his father, and with the assumption he would follow him into business, trained in industrial schools. However, he showed strong interest and talent in fine art, and soon his father consented to his son's education
at the Chicago Art Institute, which he entered in 1890. He was expected, however, to help
with expenses, so he took jobs after classes with well-known artists
who were shaping up murals for the Chicago World's Fair. This
grounded him in mural techniques of the big wall, big-brush type.
Marsh went to New York City in 1894, and the next year, having married miniature painter Alice Randal, also a student of the Art Institute, went to Paris where his independent attitude toward the
pursuit of art led him to avoid workshop study. The couple
lived in a Montparnasse studio where two sons and future artists, James and Reginald, were
born. Marsh exhibited in the Paris Salons of 1898 and 1900, and one of his 1900 entries was Lady in Scarlet, a full-length portrait of his young wife, in
vivid and luminous red. It won the
International Bronze Medal and was widely exhibited abroad and in the
Coming back to the United States in 1900 after seven years in Paris, the
artist was impressed by the sight of brawny workmen swinging out on
girders and riveting the lacy skeletons of the earliest skyscrapers on
lower Manhattan. March and his family settled into a pattern of spending summers in Sakonnet, Rhode Island where Marsh was an avid yachtsman, and the remainder of the year in the well-established art colony of
Nutley, New Jersey. In 1914, the family moved to New Rochelle, New York, and in 1928, he and his wife moved to Ormond Beach, Florida where Alice died in 1930.
1928, Marsh retired completely from art production on a commercial
basis. Within a year he had lost his parents, his wife and his
third and youngest son. He moved to Ormond Beach where, on a long
stretch of Atlantic Ocean frontage, he had begun to build a home. For
the rest of his life he split his time between Ormond Beach, FL and
In 1930 Marsh married Miss Mabel Van Alstyne, a
New York and Woodstock artist, and they appeared to have a notable artistic
partnership, which included being some of the founders of the Woodstock Art Colony. Together they also finished a new home, embellishing
every inch of it with their own hands.
Frederick Dana Marsh died December 20, 1961.
David Dearinger, "Frederic Dana Marsh", Paintings and Sculpture in the Collection of the National Academy of Design, Volume One, 1826-1925
The Daytona Beach Morning Journal, December 21, 1961]
July 2005 by Bob Constant who wrote: "The papers of Frederick Dana
Marsh are archived at Rensselaer Polytechnic Institute.
|** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.|