Marathon Report

Last Saturday, I participated in a ten-hour marathon of painting (or drawing) one brave model.  The day was broken into three 3-hour segments, with half-hour breaks for nourishment at lunchtime and dinnertime.  The location was the studio of Adrienne Silversmith, the same studio where we meet regularly on Monday mornings.

We started with a few quick poses to enable the artists to get warmed up, so I had less time for the longer morning pose and brought nowhere near a satisfying conclusion.  I like the hands, though.

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The afternoon went better for me:

Afternoon Pose

Afternoon Pose

That’s Larry Christian in the background.  He works in compressed charcoal (no wiping out!) and doesn’t do long poses, so he would move around the room to get different angles on our model.  He came around and plopped himself down in the chair I had been painting into my background, so there he is permanently ensconced in my painting.  For many years, Larry taught life drawing at the NH Institute of Art; I took his course twice.  There’s a blog post on that subject here (“Catching the Odd perspective”) and here (“Struggle with Compressed Charcoal”).

While painting away, we got to talking about a certain style of painting that has intrigued me for several years now.  It’s not merely “loose”, it’s destructive!  Adrienne described it more charitably, as construction, then de-construction.  It fascinates me because I like it, and I can’t figure out why I like it.  Here are a few links provided by Adrienne to artists that, to one degree or another, practice this style:
davidshevlino.com
maggiesiner.com

For those of you too lazy to click on a link, here is an example by Maggie Siner:

Portrait by M. Siner

Portrait by M. Siner

Anyway, after six hours of painting, I felt brave enough to try something like it.  I first painted a fairly straightforward figure, and then I started messing with the edges.  Then I messed with the edges of the changes in values.  By the time I quit, I had pretty much had pixelated the entire painting:

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My result is more pointillist than the style I wanted to emulate, but I kind of love it. For the foreseeable future, I plan to run with it.  But I’m still puzzled as to why it works, and my efforts are probably doomed to fail if I cannot figure that out.  Is it the illusion of movement?  Mine looks as if you are looking through glass bathed in water.  So my surface is the moving part, whereas the figure in Maggie Siner’s painting would be the moving part in hers.  Obviously, I am not even close to the ultimate goal, but I’m on my way.  Perhaps.

Here are works from a few of my fellow marathoners, Nancy C and Cindy A, and I’m pretty sure if you’ve been following along, that you’ll have no trouble identifying Nancy’s painting.  Cindy is one of the Cornwall Four, four of us who took Cameron Bennett’s 2013 workshop (inspired by the Cornwall painters of yore) and thereafter painted en plein air together on a regular basis.  Discussed here perhaps.

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Aline Lotter is currently exhibiting:

at the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

Very, very soon, the annual Love, Lust and Desire show at the McGowan Gallery in Concord opens!  January 30 (Friday) 5-7 p.m. is the reception.  Over 70 artists are participating.  Unfortunately, I can’t be there because I signed up for another Snow Camp with Stapleton Kearns.  I have ten pieces in the McGowan show, mostly nudes, all 8×11, all priced at $150 each.  Original oil paintings for only $150!  So definitely check it out if you like my nudes.

As usual, you may view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

Fun and Struggles; Struggles are Fun?

Here is this week’s output of my Monday morning life group:

Paint, not charcoal

Paint, not charcoal

Strong shapes have always been Nancy C’s forte, conveyed in charcoal.  The big news here is that Nancy  brought her oil paints for the first time, starting out by doing a grisaille painting of the model, just as Jan did when she first started with us.  (“Grisaille” means painted in monocolor, usually black but it can be any color.)

Jan's version

Well, Jan is certainly into color now!  Bold, vibrant colors, strong shapes and brush strokes.  . . . Interesting foot.  (More on that below.)

Waiting Nymph

Waiting Nymph

Nymph is mine.  I had in mind “sleeping nymph” when we were setting up the pose, but she is clearly not asleep.  The body part that I had the most difficulty with was her left arm.  Getting the width of it just right doesn’t sound like rocket science, but for some reason, my brain does not always perform correctly.  It’s important not to give up when that happens.  Because I spent so much time fussing with the drawing of the shape, the painting of the shape fell a little short.  But I still rate the painting as successful.  Perfection cannot be the goal when you only have three hours minus breaks to complete a figurative painting from life.

Nancy and Jan were having a lot of difficulty getting the figure’s right foot looking like a foot, because it was so foreshortened from their angle that on the canvas it was coming out looking like a club foot.  So we photographed it, and they are supposed to be working hard at home to render a believable foreshortened foot.  Here’s the photo they are working from:

Pesky foot

Pesky foot

I’m not sure, but I believe if you can get the toes to read like toes, the rest of the foot will become viable.  I can’t wait to see if Nancy and Jan succeed, and they better bring in the paintings this Monday to show us!

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

Very, very soon, the annual Love, Lust and Desire show at the McGowan Gallery in Concord opens!  January 30 (Friday) 5-7 p.m. is the reception.  Over 70 artists are participating.  Unfortunately, I can’t be there because I signed up for another Snow Camp with Stapleton Kearns.  (Concerned that I may be getting too old and fragile for such shenanigans?  Me too.)  I have ten pieces in the McGowan show, mostly nudes, all 8×11, all priced at $150 each.  These are original oil paintings for only $150!  So check it out if you like my nudes.

As usual, you may view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

Beginning Anew

First of all, it’s hard to get started.   I’ve been dragging my feet for over a week, avoiding my first post of the new year.  Second, it’s hard to be original.  New Year’s Resolutions for artists come in two packages:  Plan A:  Get Better.  Plan B:  Get Better Known.  The “How” of each?  That’s what used to be known, before inflation, as the $64 question.

How to get better for painters:  paint more?  paint different?  read more books?  take more classes and workshops?

How to get better known (“do better marketing”):  write a blog?  send out a newsletter?  join a gallery?

These two big objectives are basically incompatible unless you hire someone else to do the marketing for you.  A spouse comes in handy!  For a colleague’s summary of possible resolutions for an artist’s new year, see the blog of Sharon Allen.  Now I don’t have to think about it anymore!  Instead, I will press the Restart button next month when I have a convenient birthday.  The older, slower, and lazier I get, the harder I must work just to keep up.

This week, I photographed all the works from our Monday life drawing/painting session; everyone seems to enjoy that.  Our model this week was actually one of my patrons, one who buys my nude paintings, prints and drawingsof other people, and wanted one of herself.  She had had a double mastectomy and wanted to record that achievement.  She was a great model, and is pleased with the painting that I did of her, so “Mission Accomplished!”  The following photos were taken with my iPhone, so the quality of reproduction might not be up to what we are used to from my Nikon D70.  (I sure hope so!)  After this array, I am including some stragglers, which should have been included in previous blogs but weren’t.

The Charcoalist

The Charcoalist

The Pastellist

The Pastellist

The other oil painter

The other oil painter

My painting

My painting

We all agreed on the color of her hair.   Only mine has the egregious shine.  The shine may be caused or aggravated by a mixture that I use as my medium, which includes Liquin.  Oil paints lose their natural glossiness when they dry, but the Liquid helps to reduce that effect, but it also makes the paint when wet super glossy.

The stragglers are three from a week when I never got around to posting at all, or I posted on other subjects.

Bursting with Life

Bursting with Life

Isn’t she glorious?  I see at least flaw that I want to correct–wrist of her right hand looks suddenly too narrow because of a stray blob of dark paint.  Gwen has been extremely popular with the artists, but alas, we will not be seeing her for a while, at least for the duration of her pregnancy.

For the Monday between Christmas and the New Year, we painted Aubrey again, also a very popular model who happens to be an artist herself.  I did not photograph the artworks that day, but our Pastellist (Nancy Healy) was good enough to bring her drawing back this week to show off how great it was, so I got the photo then, again with my iPhone.  Nancy had taken a photo of Aubrey and worked on the facial features at home in order to get them just right.

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My own painting was this head and shoulders version:

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I perhaps got too fascinated by the turquoise pendant.  But isn’t it interesting how similar the two faces are.  Almost as if we were both on the same painting spot.  We were pretty close.  I was lower down since I sit to paint, and Nancy stands.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers).  Very, very soon, the Love, Lust and Desire show at the McGowan Gallery in Concord is coming!  January 29 is the reception.

You may also view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

Follow Up

As a result of my previous blog featuring myself as a model, which everyone seemed to enjoy more than my paintings of other people, I have resolved to try to show more artwork that is not my own, and to do a fresh self-portrait, if only to assure myself that my skills have improved in the last three years.  So this week, I present such a self-portrait, and even more exciting . . . well, truly exciting . . . a video of another artist’s painting of our Monday morning model.  You will see what I painted that day plus what is in effect a demo of what Tony Luongo did that same day.

Starting with the self-portrait, I have to say I am a little surprised that it looks so similar to my 2011 pencil portrait.  That is to say, I haven’t aged a bit in three years.

Self Portrait 2014

Self Portrait 2014

I hope you agree I did a better job on the nose this time.  Comparing a pencil portrait to an oil painted portrait may be unfair to the pencil, so for purposes of evaluating my skills, I will show you another selfie painted in an early portrait class (2008) that I took with Adeline Goldminc-Tronzo.  Bear in mind that the earlier portrait was developed over several sessions and helped by the observations of the teacher.  It was the best thing I did in that class.

Self-portrait_1

Same hair, same eyes, but younger lips and less saggy around the jaw.  Oops, there I go again, concentrating on the wrong thing!  Six years of practice have gone into a more courageous handling of the paint and a more accurate portrait (I think).  And I did the new one in only a few hours.  Credit is owed, however, to my colleague Dee Lessard, with whom I was painting that day, for her observations.

For our Monday painting last week, Aubrey was our model again.  This is what I produced:

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Tony set up his easel on Aubrey’s other side.  I worried that he was not getting a good angle or enough light, but as you will see, he didn’t seem much bothered by such details.  I never noticed that he had set up his smart phone on some kind of rack and set it to record his every move.  After he got home, he sped up the action so that the final video takes only ten minutes or so. http://www.youtube.com/user/luongoart

In an interesting coincidence, it turns out that Tony also modeled for Cameron Bennett’s master’s thesis painting.  Tony shared with me a photo of that painting in progress, and I wish I could share it with you, but since it was a work in progress at that time, I would need the artist’s permission first.  The painting was a crowd scene, with me and other volunteers playing our roles as members of an audience to two mysterious floating figures furnished by paid models.  Either the models or Cameron are magicians.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). And for the month of December, at the Currier Museum of Art, Manchester NH.

You may also view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

My Life as a Model

I was forced (gently) to pose for my Monday life group because our scheduled model just did not show up.  That happens rarely, but often enough so that we know how to cope.  The organizer, unless someone else volunteers, has to step up and be the model.  Not necessarily nude.   It was too cold Monday in the studio for a nude model anyway.  Having nothing much else to think about while I was posing, I  plotted to snap photos of everyone’s interpretation of me and use them for my blog post.  And Monday was not my first rodeo, so I decided to incorporate all of my experiences as a model.  It’s a theme.

Back in 2011 when the model was late to Peter Clive’s class on drawing with color, I sat for maybe 20 minutes while Peter did a demo.  Peter gave me the sketch:

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Peter has a new website here.

Then a few years later, Cameron Bennett asked me to pose for a project that constituted his Master’s thesis in the MFA program at Lesley University.  (He got his BFA from Massachusetts College of Art.  The many art colleges in Boston confuse me–are there some with alternate identities?)  I knew I could do it since (they said) I had sat so very still for Peter.  The duration of Cameron’s pose might have been as much as two hours.  After many months –while Cameron worked on the very large painting that utilized, as one smallish element, his charcoal drawing of me–I received my “payment”–the charcoal sketch itself.  Alas, his large painting  cannot be found on his website here.  I think he liked the charcoal study  better than the finished product; he seemed reluctant to hand it over to me.  It is pretty awesome.  Note the length of the nose–it’s right on!  (This becomes relevant later on.)

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Finally, what you have been waiting for:  the six pieces created/inspired by my recent gig–a full three hours.  Well, actually 2 and 3/4 hours since we spent 15 minutes waiting for the scheduled model.

Those who voiced any opinion at all thought I did good, especially praising my choice of colors when I got dressed that morning (lime green and cobalt blue).  Even one who does not draw or paint in color appreciated the color scheme.

IMG_0167Pencil

 

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Watercolor

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Charcoal

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Oil

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Pastel

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Charcoal

I didn’t attach names, only media, because at least one did not want to be identified with her product.  Contributors are:  Barbara, Nancy C, Jan, Cavaleen, Laura, Nancy H.  Somehow Louise got away before I could get a photo of her piece.

And just for good measure, here is my most recent self-portrait:

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Not very recent though–2011 is the date on the photo.  I was still doing long noses then.  Otherwise, I daresay it looks mostly like me, staring in a mirror with unprecedented concentration.  Note the same earring shows up in Peter’s sketch.  Those were my 2011 earrings.  I have moved on, albeit reluctantly.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). And for the month of December, at the Currier Museum of Art, Manchester NH.

You may also view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

Celebrating Humanity?

In the context of the highly publicized current national and international events, humanity may not deserve a ticker-tape parade.  On the macro level, humanity has little to brag about.  But in the micro scale, the artist’s scale, things of beauty can still be found.  Three different nuggets have tumbled together in my brain to form this topic.

Nugget No. 1:  Have you ever stopped to consider what goes into the creation of a magnificent work of music?  I was listening to the broadcast of a Beethoven symphony last week when the enormity of the achievement struck me:  first, humans had to invent and perfect and pass down instruments; then an individual human had to come up with an arrangement of notes to be played on the instruments all together, only to be achieved after many years of practicing and learning and experimenting; then humans had to learn how to play the instruments and then how to play the notes as arranged by the composer,  which required many years of practicing and learning and experimenting; then it all had to be pulled together so that the individual musicians played a complex composition as if they were a single organism.  To bring the glorious sound to me, there’s the recording technology, the broadcasting technology . . . .  My mind boggled.  One symphony is an enormous human achievement–but an achievement by individuals working alone and together, all of the pieces contributing to the magnificent end.

Nugget No. 2:  For marketing purposes, I have lately been mulling over and over a catch phrase to use to describe my own artistic output.  Seeker of beauty?  Finder of beauty?  I was looking for some way to express the idea that I paint stuff that exemplifies beauty of everyday life, perhaps small stuff that ordinarily gets overlooked.  No messages, no “concept” other than beauty.  Sure, I’m an environmentalist, a landscape painter, convinced that we are hurtling toward our own doom by destroying our atmosphere, but I have no urge to paint, say, an oil refinery as a villain.  If I were to paint an oil refinery, it would be to discover the beauty of the shapes, lines, and values to be found there.  I went back to the mission statement offered to me by Cameron Bennett where he used the phrase “preserving humanity”.  I think he means preserving a record of humanity, since I do not know of a way for art to actually keep us safe.  Is there a dark thought inherent in the idea that such record might one day be needed?  No, I rejected such a gloomy interpretation.   Perhaps the combination of “preserving humanity” and “discovering/revealing beauty” could be expressed as “celebrating humanity”?

Nugget No. 3:   last night I attended the reception for a show of works by Peter Granucci.  The show is called “Memorial to Lost Species”.

Peter Granucci, Alone in Grief

Peter Granucci, Alone in Grief

The drama and anguish exhibited in the above image is repeated in perhaps 20 paintings, all with a human figure and many with the skull of a nonhuman creature. Peter created frames for each piece, which extend the grittiness and turbulence of the backgrounds of the paintings.  The captions on the paintings are pointed references to the losses of species, and the grief we, mankind, ought to be experiencing as a result–   humanity grieving for the species destroyed, grieving for the world lost, grieving, ultimately, for its own viability.  Peter certainly had a message, and he wasn’t satisfied with just one painting to convey that message.  Before inspiration took him into this deep dark place, four years ago, he was like me, painting beauty.  He celebrated the beauty of the female form.  His drawings of the female form are simply exquisite.  But when an emotion overtakes an artist, the output has to reflect it.  Think Picasso’s “Guernica”.  Now think Granucci’s “Memorial”.  The show will be up for the rest of December at the Art Gallery in New England College, Henniker, New Hampshire.

So I am a little shaken by Peter’s message.  And the events on the news.  How can I thank about “celebrating” humanity when humanity does so much that is wrong?

Nevertheless, I share with you the last two weeks’ of Monday life painting:

Better than Climbing Trees

Better than Climbing Trees

The title is a reference to the fact that, after modeling for us in the morning, Robbie was off to climb trees in the process of cutting them down.  That was the Monday before Thanksgiving, and that Wednesday we got hit with lots of wet, heavy snow that felled a lot trees over power lines–my family went without a Thanksgiving dinner this year.  Just thinking, a little adumbration perhaps?

A Lovely Nude

A Lovely Nude

We think this new model might be the answer to Rebecca’s “retirement” (have you missed Becky?).  Interesting how she and Robbie are in almost identical poses, leaning against the wall.

If you remember my very large painting of a cat awakening from a nap (“Nap, Interrupted”) that I started last summer but shied away from finishing because I was afraid of the whiskers . . .

Nap, Interrupted

Nap, Interrupted

here she is with whiskers.  I had to finish her because I promised her to the Currier Museum for the month of December.  Here is how she looks on the wall of the Museum’s Community Gallery, on the lower level where the classrooms and auditorium are:

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Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). And at the Currier Museum of Art, Manchester NH.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

 

New Muse

In Saturday Life Group this morning, we had a new model.  Her name is Gwen.  About halfway through the morning, I realized why she seemed so familiar to me:  She had modeled for the figure painting class I took with Sean Beavers last June.  You can see the results of that class here.  I had recruited her for my Monday group, but, after collecting all her contact information, I forgot her name.  What good is contact information if you can’t remember the name of the person you want to contact?

Anyway, everyone there this morning was just thrilled with her.   “So graceful” was how Nancy put it.  “Beautiful . . . everything about her is beautiful”, observed Steve, “even her pregnancy,”  Gwen’s baby is due in February, so she is not all that large with child yet, but we will see her again in January, I hope.

For my part, I haven’t had this good an SLG session for months.  I usually don’t bother looking at my sketch pad after I get home.  Today I not only looked, I “fixed” (sprayed with fixative to prevent smearing of charcoal dust) them and removed a few from my pad in order to prep them for framing!  Here they are, in order of importance, low to high:

Gwen in Five Minutes

Gwen in Five Minutes

Gwen in Ten Minutes

Gwen in Ten Minutes

Gwen in Twenty Minutes

Gwen in Twenty Minutes

Gwen in Forty Minutes

Gwen in Forty Minutes

The Ultimate Gwen (50 minutes)

The Ultimate Gwen (50 minutes)

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at the New London Inn in New London, NH; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). Two Lowell Cemetery paintings are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!