Ad Code: 3
from Auction House Records.
Train passing a mission, 1984; Trains in a sunlit station, 1985; Two trains passing in winter (Yes, we have bananas), 1985; Train near a silo (The latter years), 1986 (group of four)
Artwork images are copyright of the artist or assignee
|This biography from the Archives of AskART:|
|In the spring, 2006, the Haggerty Museum of Art in Milwaukee, Wisconsin
on the campus of Marquette University held a retrospective exhibition
of photographs and paintings by Ted Rose. Composed of more than
50 watercolor paintings and industrial-scene photographs, which
document the end of steam railroading in North America, this exhibition
marks the first time Rose's paintings and photographs have been shown
Antiques and the Arts Weekly, April 7, 2006, p. 5
|Biography from Mark Sublette Medicine Man Gallery Santa FeTucson:|
|Ted Rose has a passion for railroads, which started when he took his
first train ride in 1949 to a railroad fair in Chicago. Then, in
the mid-1950s, a teen aged Rose traveled throughout the United States
and Canada, photographing and sketching in watercolor what he sensed
was the twilight of the steam locomotive.|
After receiving a
B.F.A. from the University of Illinois in 1962, Rose served in Vietnam,
and upon his return settled in Chama, New Mexico. In 1966, he moved to
Santa Fe, where he opened a graphic design business. In 1983, he
started to paint watercolors full time, with a nostalgic focus on the
days when steam ruled the railroads.
Rose is a signature member of the New Mexico Watercolor Society and a member of the American Watercolor Society. New Mexico Magazine honored him as their Distinguished Artist for 1997.
paints landscapes that incorporate human history in the form of trains,
railroads, interstates, side roads, diners and gas stations. He
finds watercolor offers greater options than oil, and is more
malleable. "Watercolor is direct; there is almost no complexity
in the preparation of the painting aspects of it," Rose says.
he visualizes a prospective painting, then he sketches reference points
to understand if what he imagined works on paper. His camera is
the sketchbook, but he rarely creates one of his almost photographic
watercolors from a single image. Often he searches for illustrations by
Depression-era photographers Dorothea Lange and Walker Evans for
background material, and even consults old time tables to ensure he is
accurate about the exact time of a train's departure from a depot.
One of his watercolors, Three Below at Monero,
a memory from the time he lived in Chama, presents the last vestiges of
the Denver and Rio Grande Railroad's narrow gauge operations in New
Mexico during the mid-1960s. Two locomotives struggle with
freight through Monero and up the grade toward Chama. On this
frozen early morning, there is indeed an end of the line ahead, for
abandonment looms in 1968.
Donald Hagerty, Leading the West, One Hundred Contemporary Painters and Sculptors, 1997
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