Reginald K. Gee

"Baghdad Rain, " Oil Pastel on Illustration Board signed by Reginald K. Gee

1991

"Freelance" is an original oil pastel drawing on illustration board by Reginald K. Gee. The artist signed the piece on the back. It depicts an artist walking through an abstracted wo...

"The Three Dollar Bill Network" is an original oil pastel drawing mounted to cardboard by Reginald K. Gee. The artist signed the piece on the back. It depicts abstract marks, small figures, and scenes separated by lines and space. 30" x 40" art Reginald K. Gee was born in Milwaukee on April 28, 1964 to Native American and African American parents and spent most of his childhood on the northwest side of Milwaukee in the Havenwoods neighborhood. Gee has been creating art since 1982, and his professional art debut began in 1986 at an outdoor exhibition at Milwaukee’s Performing Arts Center. Like Prophet William J. Blackmon and Simon Sparrow...

"Ulsto" is an original oil pastel drawing on grocery bag by Reginald K. Gee. The artist signed the piece on the back. This piece features abstract color fields but also depicts an ab...

"Lounging Reader" is an original oil pastel drawing on a Safeway grocery bag by Reginald K. Gee. The artist signed the piece lower right and signed & dated it on the verso. This piec...

"Living Figures" is an original oil pastel on a grocery bag by Reginald K. Gee. The artist signed the piece lower right and dated it on the back. It features two abstracted figures i...

"Untitled" is an original oil pastel drawing on pink paper by Reginald K. Gee. This piece features abstract, simplified figures in black and white dancing o...

Watercolor, oil pastel, charcoal, ink, salt and Black 3.0 on watercolor paper, 22.25" high x 29.75" wide Pink, red, peach, orange, purple, black Framing available COA available upon...

Imbued with a darkly humorous iconography, Rafael Melendez's Neo-conceptualist creations captivate the contemporary art scene. Mouth Smoking (2022) epitomizes the audacious, influent...

Overflowing with imaginative symbolism, Rafael Melendez's Neo-conceptualist work on paper, Foot Head Smoking, 2022, captivates avant-garde enthusiasts seeking a distinctive approach ...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...

This Harry Beckhoff illustration is masterfully rendered and intricately designed in line and wash. It's as abstract as it's representational with its graphic style, clean lines, and flat patterning. Every element in the composition works in harmony without a line out of place. The flat and abstract nature of the work rivals that of the great modernist painters of the 1930s. Perhaps this was done for a major newsstand magazine like Collier's. Although he studied with Dean Cornwell and Harvey Dunn, he didn't pursue the style of painterly brushstrokes and impastos. Instead, he defined his forms with flat shapes, whose internal forms are defined by thin lines. The emphasis is more on silhouette and line than it is on texture and lighting. Beckhoff also described his work as having been influenced by illustrators like Pierre Brissaud...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...