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Terry Rodgers
Contemporary American Works on Paper
We have additional works by this artist in our inventory. Please inquire.
Click on a thumbnail below to see an enlarged view and detailed information:
Before the Festival, 2001
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Conversation, Venice, 2001
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Les Enfants, Aix en Provence, 2001
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Girls at the Beach, 2001 
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Twin Popsicles, 2001
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Terry Rodgers earned his B.A. from Amherst College, and has had several one-man exhibitions in our gallery. Rodgers has also shown in Chicago. His works, including his murals, are in the permanent collections of many prestigious corporate headquarters and law firms, as well as in many government offices in Maryland, Ohio, and Washington, D.C.
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Selected Permanent Collections
Arthur Anderson & Co., Washington, D.C.
City of Baltimore, Civil Service- Mural
Department of Transportation, Montgomery County, Maryland- Mural
Fannie Mae, Federal National Mortgage Association, Washington, D.C.
International Ironworkers Union Headquarters, Washington, D.C.- Mural
Kennedy Institute of Bio-Ethics, Washington, D.C.
Science and Technology Committee Room, U.S. House of Representatives Office Building, Washington, D.C.
Smithsonian Institution, Washington, D.C.
Supreme Court of the State of Ohio
Vorys, Sater, Seymour and Pease, Columbus, Ohio
Walter Reed Hospital, Washington, D.C.- Mural
Ways and Means Committee Room, U.S. House of Representatives Office Building, Washington, D.C.
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Excerpts from Recent Reviews
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Jacqueline Hall, "Venetian Views: Pastel Artist Noted for Human Forms Turns Attention to Colorful Cityscapes," The Columbus Dispatch, May 29, 2001, sec. D, p. 10.
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"For Terry Rodgers, who is fascinated by the human figure and intrigued by human relations, city views mark a new direction.
Cheerful and pleasing to the eye, Rodgers' pastels at Keny Galleries take viewers on a tour of Venice, the exotic "Queen of the Adriatic."
Until now, landscapes and cityscapes have interested him only as backdrops for the human figure. With his scenes of Venice, this is no longer true. The artist focuses on buildings and canals, giving scant attention to the ubiquitous gondoliers who man the boats.
Rodgers' views of the city -- such as Santa Maria della Salute, Venice -- are sunny, carefully composed and executed with fluid strokes of pastels that translate with exquisite tonal modulations the plays of light and shadow on the waters of canals and the facades of buildings. But despite their beauty, a few of those images engage the eye only, neglecting intellect and emotion.
Such is not the case, however, with Sunlight and Shadow, Venice, a simple but forceful scene that pulls a spectator in. The watery expanse in the foreground invites a viewer toward the massive arch of the bridge, the vulnerable gondola beneath it and the delicate facades and the buildings beyond. One cannot look at the scene without an ironic thought: Venice is sinking into the very waters that gave it power and greatness.
Conversation, Venice has intimacy tinged with mystery. On a narrow canal, two gondolas pass -- one on the sunny side by a cheerful rose-colored house with green shutters, the other partially lost in shadows and carrying two blurred figures who appear to be lost in sharing secrets.
Venice is a city of moods and mysteries that Rodgers captures in the delicately dreamy Dusk in Venice -- a view of the Grand Canal lost in a soft purplish haze.
Rodgers follows in the footsteps of American artists who have been entranced with Venice, and obviously, was inspired by the greatest of them, James McNeill Whistler. If Bridge of Sighs automatically brings Whistler to mind, it is in Dusk in Venice that Rodgers best emulates him, without being imitative.
But it is when he deals with the human figure and human relations that Rodgers is most at ease, a quality that best emerges in his delightful sketches.
In Brilliant Sunshine, he captures a mother and child turned toward each other, their blond hair cheerfully caressed by the sun as they sit on a beach. The image is far more complex than it first appears. Are the figures looking at each other? It is hard to tell, because the mother's eyes are hidden behind large sunglasses and the child's interest seems to be in what he holds rather than in his mother. This lovely, deceptively simple image is rich in innuendoes.
In the charming and lively Twin Popsicles, Rodgers focuses on a child's total absorption with her cold snack. The sketch has wonderful spontaneity and is executed with colorful, animated strokes of pastel, suggesting the irrepressible vitality of youth.
Rodgers has shown mainly pastels in Columbus in the past few years. But he is also a photographer, an oil painter and a sculptor. His work is represented in the permanent collections of the Smithsonian Institution in Washington as well as in numerous private collections in the United States and England."
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"Rodgers' rendering of water is superb, with its remarkable suggestion of transparency and light reflections. He achieves exquisite tonal modulations with subtle laying of pigments, and creates remarkable effects of dappled light." -- Jacqueline Hall, Art Critic, The Columbus Dispatch, 1999
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"What distinguishes Rodgers is his painterly facility, and command of color and light. Each vignette is engineered with expert compositional acumen." -- Richard Vine, Managing Editor, Art in America, 1998
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