Terry Miller, "Steam Fitters," 2013, graphite on board, 9 x 18 inches, private collection

by Kelly Compton

As seen in the Frontispiece of this issue (page 3), American artists have long highlighted the world of industry in their paintings, sculptures, drawings, and prints.  Unfortunately, the dynamism of such historical images—the exciting throb of big things happening—has generally morphed into faded glory, visions of once-grand structures no longer operating at full capacity, if at all.  Such scenes of melancholy and ruination possess their own charm, but industry and industriousness ain’t over yet; artists are finding ways to celebrate still-active sites, too.  This spread, therefore, sets out a range of approaches being pursued by artists around the world. . .

(This article is featured within the November-December 2017 issue of Fine Art Connoisseur.  To purchase this issue or subscribe, visit HERE.)

Ira Korman, “Serpent,” 2004, charcoal on paper, 32 x 23 inches, private collection
Robert Spooner, “The Argyle,” 2016, oil on board, 40 x 50 inches
Nancy Tankersley, “Power Play,” 2016, oil on linen panel, 20 x 20 inches
Vladislav Yeliseyev, “Easton Silos,” 2017, watercolor on paper, 11 x 15 inches
Peggy Morgan Stenmark, “Shadow Connections II,” 2012, watercolor, ink, and acrylic on paper, 26 x 22 inches
Ray Hassard, “Flying the Beam,” 2012, pastel on panel, 20 x 16 inches
Michele Usibelli, “333 Canal Street,” 2016, oil on canvas, 24 x 12 inches, private collection
Charlie Hunter, “Marble Workers, Danby, Vermont, 1963,” 2015, oil on linen, 72 x 48 inches, Artcentric.House
Shelby Keefe, “Intensity of Intention,” 2017, oil on canvas, 30 x 15 inches
Kevin Moore, “In the Shadows of Coal Country,” 2017, oil on panel, 24 x 32 inches, private collection
Bradley Schmehl, “Feeding the Beast,” 2016, oil on canvas, 30 x 40 inches, private collection
Gerald J. Fritzler, “The Master Tech,” 2015, watercolor on paper, 19 x 14 inches, private collection
Nicholas Evans-Cato, “Keyboard,” 2017, oil on canvas, 24 x 44 inches, George Billis Gallery
Francesco Fontana, “Industrial Reflections,” 2017, watercolor on paper, 15 x 20 inches
Christopher Groves, “Streamlined,” 2017, oil on board, 24 x 20 inches, Anderson Fine Art Gallery
Stewart White, “Philly Refinery, Satellite View #1,” 2016, watercolor on paper, 18 x 12 inches, private collection
Steve Stauffer, “Nelson’s Silver Cup,” 2017, oil on linen panel, 16 x 20 inches, Mission Gallery, St. George, Utah
Anne Harkness, “Whitewashed,” 2017, oil on canvas, 36 x 60 inches
Brienne M. Brown, “Wet Stop,” 2016, watercolor on paper, 14 x 10 inches
Joe Paquet, “Blue Collar,” 2014, oil on linen, 28 x 40 inches
John Cosby, ” Canojaharie Creek,” 2015, oil on linen, 18 x 24 inches
Julie Riker, “Lanaconing Silk Mill,” 2017, oil on hardboard, 16 x 12 inches
April Raber, “Diadem II,” 2017, oil on canvas, 12 x 24 inches
Joseph Lorusso, “Linemen,” 2014, oil on panel, 40 x 48 inches, Mountain Trails Gallery
Davi Boyd, “Elevated,” 2017, oil on linen, 50 x 60 inches
Jon DeMartin, “Golden Rails,” 2013, oil on wood, 9 x 24 inches, private collection

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Fine Art Today
Fine Art Today is the official newsletter of Fine Art Connoisseur, serving art collectors and enthusiasts with innovative articles about representational paintings, sculptures, drawings, and prints — both historical and contemporary, American and European.

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