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Industrial Art

Industrial Art

  • 392 Pins

1934 E. Dewey Albinson (American artist, 1898-1971) Northern Minnesota Mine

Joe Jones: Street Scene, 1934

“Thomas Hart Benton's ‘America Today’ Mural Rediscovered,” on view through April 19, 2015, celebrates the gift of Benton’s epic mural “America Today” from AXA Equitable Life Insurance. Benton painted this mural for New York's New School for Social Research to adorn the school's boardroom in its International Style modernist building on West 12th Street. | Thomas Hart Benton (American, 1889–1975). Coal from America Today, 1930–31. #newyorkcity #bentonmural

Thomas Hart Benton'sAmerica Today Mural Rediscovered | The Metropolitan Museum of Art

Doulgass Crockwell, Paper Workers, 1934

Power lines II - Dan Clarke

Dana Brown's work

AC and Awning Dana Brown

Hoses 29.5x18 / Dana Brown

watercolor by Dana Brown

dana brown

Ian McQue (ianmcque) on Twitter

Photos and videos by Ian McQue (@ianmcque)

Terence Cuneo (1907-1996)

“landscape” painting by: CHARLES DEMUTH

Original artwork Isaac Grünewald

Original artwork Einar Jolin

Original artwork Sigrid Hjertén

Canal at Middleport by Maurice Wade 1976 Oil on board, 71.5 x 86.5 cm Collection: Government Art Collection

BBC - Your Paintings - Canal at Middleport

Maurice Wade (1917-1991)

“I feel that Man has no Place in These Pictures”. Paintings by...

Stewart White - Brooklyn Navy Yard

Brooklyn Navy Yard

H.J. Jackson - Disused Coal Stage & Water Tower/1

Disused Coal Stage & Water Tower/1 - Bircham Gallery

Adriaan Lubbers (Dutch, 1892–1954), South Ferry, New York, 1931. Oil on canvas, 65.5 x 81.5 cm.

Adriaan Lubbers (Dutch, 1892-1954), Herald Square No. 55. Oil on canvas, 90 x 65.5 cm.

Lockwood Dennis - Gas Plant, Linton, 1995

Lockwood Dennis at Davidson Galleries

Pierre Combet-Descombes. En 1925, Combet Descombes note un projet de décoration pour une Bourse du Travail : « L’usine maudite, l’usine rouge, inspirée par le thème de la métallurgie, cause de guerre ». En 1928, à propos du film, « Gueules Noires », il insiste sur « l’intensité photogénique de la machine, de tout l’outillage colossal d’une ville d’acier, et sur la féérie des fumées et des flammes ».