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He kept careful watch of the technique he used for his prints, noting the temperature of the room, the age of the bath that his plates were soaked in, the composition, and the length of time the plate was etched.
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When making prints of the etchings Marsh recorded how long the paper soaked for, the heating of the plate, and the nature of the ink used. Marsh enjoyed experimentation with all his artworks and was therefore renowned for his unique techniques. He did not take to oil naturally and decided to stick to watercolor for the next decade.
Yet, in he discovered egg tempera , which he found to be somewhat like watercolor but with more depth and body. Reginald Marsh rejected modern art , which he found sterile. His work depicted the Great Depression and a range of social classes whose division was accentuated by the economic crash. His figures are generally treated as types. In their density and picturesqueness, they recall the crowds in the movies of Preston Sturges or Frank Capra".
Marsh's main attractions were the burlesque stage, the hobos on the Bowery , crowds on city streets and at Coney Island , and women. The burlesque queen in the etching Striptease at New Gotham assumes the classic Venus Pudica pose; elsewhere, "Venuses and Adonises walk the Coney Island beach [and] deposed Christs collapse on the Bowery".
Marsh filled sketchbooks with drawings made on the street, in the subway, or at the beach.
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Marolyn 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 made drawings of posters and advertising signs, the texts of which were copied out along with descriptions of the colors and use of italics. 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.
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The drawings of burlesque and vaudeville acts Marsh made in the s 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. In 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". The print's title mocks a complacent remark made by President Hoover. Marsh liked to venture out to Coney Island to paint, especially in the summer time.
There he began to paint massed beached bodies.
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Marsh said "I like to go to Coney Island because of the sea, the open air, and the crowds—crowds of people in all directions, in all positions, without clothing, moving—like the great compositions of Michelangelo and Rubens. Marsh was also drawn to the ports of New York.
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