Thomas R. Roese

Urban Series: Promised

2009

"Under and Behind" Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and urban neighborhoods surrounding him,...

833 CLE Series: Red Bridge w/Car. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and the urban neighborhoo...

702 CLE Series: Three Rows in the Yard. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and the urban neigh...

872 BRU Series: Steep/Stepped Parade. [Bruges, Belgium]. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, a...

Industrial Landscape Contemporary American Watercolor Magic Realism 20th Century Henry Koerner (1915-1991) J&L Oxygen Plant 18 x 24 1/2 inches Watercolo...

This exquisitely detailed drawing by Swedish artist Oscar Lycke captures a rustic settlement nestled in the golden highlands of northern Sweden, most likely depicting the traditional...

We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork port...

Poland (Glider) by Andrea Moreau colored pencil and postage stamp on paper 22 x 30 inches 25.25 x 32.5 inches framed To create her mixed-media artworks, Andrea Moreau selects a postage stamp to serve as the starting point for a piece on paper, then “completes” the image with colored pencil. This artwork, "Poland (Glider)," centers on a stamp that depicts an aircraft flying above a glacial horizon. Building on the style and environment established by the stamp art, Moreau extended this scene across land and sea in vibrant blue pencil. A statement by the artist: My drawings function as personal interpretations of political or commercial propaganda. I begin with imagery found on postage stamps or printed advertisements and, using the visual logic and graphic language of the image, I attempt to tease out a larger framework from which to consider it. Finished pieces often incorporate printed matter and cultural detritus, which gives them an immediate and tactile connection to the world of objects. I am particularly interested in the postage stamp as a geographical artifact, and through my drawing process I attempt to learn something about a place by studying its official imagery and then creating a world beyond the borders of its fragmentary scenes. The finished drawings and paintings are a record of this study; they are a dialogue between the printed and the drawn, the official and the personal, the real and the imaginary. They are a metaphor for the way in which we conjure the places we hear about on the news and read about in books, using the tiniest pieces of information to construct a reality that most likely bears little resemblance to any actual place. Andrea Moreau’s mixed-media works, on the other hand, walk a tightrope between context and isolation. Moreau selects a postage stamp to serve as the starting point for a piece on paper, then “completes” the image with colored pencil. These stamps may become lost in a frenzy of Moreau’s mark-making, as with “Mexico (Flowers) #15,” or left comically obvious, like in “USA (Barbershop...