{"product_id":"artist-in-his-studio-robert-lohman-c-1969","title":"Artist in His Studio - Robert Lohman, c. 1969","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist in His Studio\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eRobert Lohman, c. 1969\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1757\" data-end=\"2185\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1760\" data-end=\"1788\"\u003eThe Artist in His Studio\u003c\/strong\u003e, Robert Lohman turns the studio into both a physical environment and a portrait of creative consciousness. The work is divided into a loose grid of rectangular compartments. Each section contains its own cluster of shapes, colors, and subjects, while forms repeatedly press against or spill across the boundaries intended to contain them. \u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003eThe central section carries the greatest visual and psychological weight. Within it, a dark face appears near the upper middle, partly enclosed by a large pale-blue circular form. The features are difficult to read, yet the eyes and mouth are distinct enough to establish a human presence. Because the work is titled \u003cstrong data-start=\"2504\" data-end=\"2532\"\u003eThe Artist in His Studio\u003c\/strong\u003e, this face naturally reads as the artist himself.\u003c\/p\u003e\n\u003cp data-start=\"2584\" data-end=\"2993\"\u003eLohman does not present that face as a straightforward self-portrait. It is small, shadowed, and almost buried within the surrounding activity. Broad bands of blue and green extend beside it, while vertical orange marks, pink structural forms, dark lines, and loosely described objects fill the remainder of the panel. The artist seems to be emerging from the studio rather than standing separately inside it. This is an important reversal. In a traditional studio portrait, the artist commands the room. We may see the easel, brushes, paintings, and furniture, but they serve as supporting evidence of the artist’s identity. Here, the environment threatens to consume its maker. Lohman is not the clear master of a controlled workspace. He appears caught inside the visual world he continues to produce.\u003c\/p\u003e\n\u003cp data-start=\"3804\" data-end=\"4169\"\u003eThe uncertain scale of the objects contributes to this mental quality. Some forms appear architectural, while others resemble tools, a desk, flowers, or painted marks. Nothing is held to one dependable size. The studio does not operate according to ordinary perspective because Lohman is showing how creative material feels rather than how it is physically arranged. Across the sheet, the rectangular panels resemble canvases displayed on a wall, works stacked around a studio, or separate mental compartments. The arrangement allows Lohman to present several visual languages at once. One panel may be dominated by organic yellow shapes, another by geometric blue bars, and another by pale green forms that are nearly erased by surrounding washes.\u003c\/p\u003e\n\u003cp data-start=\"4554\" data-end=\"4992\"\u003eThe lower-left panel contains large yellow figures or shapes against a muted green background. A violet circular form interrupts the lower portion, while a smaller yellow-and-purple shape appears near the upper corner. The panel feels active and playful, almost like a painting still deciding what it wants to become. \u003c\/p\u003e\n\u003cp data-start=\"4994\" data-end=\"5318\"\u003eAt the upper right, yellow dominates again, but the mood changes. A large hand-like form descends from above, its broad fingers or rays spread across the center. Nearby, circular marks disrupt the linear markings. A purple oval sits toward the upper right like an eye looking back into the composition. That eye-like form introduces the possibility that the studio itself is watching the artist. Throughout Lohman’s catalog, eyes often carry psychological weight, particularly in works dealing with observation and paranoia. Here, however, the feeling is less political. The watching presence may be the unfinished work itself—the persistent awareness that every canvas demands attention and judgment.\u003c\/p\u003e\n\u003cp data-start=\"6103\" data-end=\"6475\"\u003eThe upper-left panel feels lighter and more botanical. Orange flower-like circles float among green stems, blue passages, and pink washes. A dark blue branching line resembles a small molecular diagram, a plant stem, or a simplified figure. The section could represent still-life material stored within the studio, but it also feels like a study in how visual ideas begin. Lohman does not describe an actual bouquet or plant. Instead, he reduces natural forms to the basic elements that make them recognizable: round blossoms, green leaves, branching lines, and areas of color. The panel feels like the artist testing relationships before they become a finished composition.\u003c\/p\u003e\n\u003cp data-start=\"6780\" data-end=\"7090\"\u003eThe lower-right section is quieter and more unstable. Pale yellow and green washes cover much of the space, while darker marks suggest possible figures, studio tools, furniture, or abandoned studies. A large hand-like or forked form rises near the center, but the surrounding details remain deliberately vague.\u003c\/p\u003e\n\u003cp data-start=\"7092\" data-end=\"7425\"\u003eThis panel has the feeling of something unfinished or partially erased. Its softness contrasts with the stronger color and more definite structure elsewhere. Lohman may be showing different stages of creation across the sheet: some ideas arrive with force and clarity, while others remain faint, unresolved, or destined to disappear. The work’s compartmental structure initially appears orderly, but Lohman repeatedly undermines it. Borders are uneven, forms overlap, and paint bleeds along the divisions. The grid cannot fully control the energy inside it.\u003c\/p\u003e\n\u003cp data-start=\"7652\" data-end=\"8069\"\u003eThat tension between structure and overflow feels central to the studio experience Lohman presents. The artist may organize paintings, tools, and thoughts into separate areas, but creation rarely stays within those categories. One work leads into another. A discarded shape reappears elsewhere. Colors migrate across canvases. The studio becomes a physical record of ideas continuing beyond their intended boundaries.\u003c\/p\u003e\n\u003cp data-start=\"8071\" data-end=\"8357\"\u003eThe palette is unusually varied. Yellow, purple, blue, green, pink, orange, and gray move throughout the composition, but they do not follow a single decorative scheme. Their relationships feel improvised. Certain colors recur across panels, loosely connecting otherwise separate areas.\u003c\/p\u003e\n\u003cp data-start=\"8359\" data-end=\"8643\"\u003ePurple is particularly effective. It appears as rings, shadows, outlines, and dense accents. Against yellow, it creates strong visual vibration; against blue and gray, it becomes darker and more introspective. Lohman uses it to connect the playful and psychological sides of the work.\u003c\/p\u003e\n\u003cp data-start=\"8645\" data-end=\"8978\"\u003eBlue provides the clearest structural rhythm. Rectangular bars and striped passages move through the central and left-hand areas, resembling shelves, frames, ladders, windows, or sections of equipment. These shapes give the composition moments of stability, though they never become specific enough to fix the room in physical space.\u003c\/p\u003e\n\u003cp data-start=\"8980\" data-end=\"9257\"\u003eThe watercolor medium is essential to the work. Colors bleed into one another, edges soften, and pigments gather unevenly across the paper. Lohman allows the process of painting to remain visible. Some passages are carefully enclosed, while others spread beyond their outlines.\u003c\/p\u003e\n\u003cp data-start=\"9259\" data-end=\"9570\"\u003eThis openness prevents the work from feeling designed too tightly. Even with its grid, \u003cstrong data-start=\"9346\" data-end=\"9374\"\u003eThe Artist in His Studio\u003c\/strong\u003e retains the spontaneity of an active workspace. Paint behaves almost like thought: it moves quickly, overlaps previous ideas, and sometimes produces results the artist could not entirely predict.\u003c\/p\u003e\n\u003cp data-start=\"9572\" data-end=\"9826\"\u003eThe black and colored lines introduce a second visual language over the watercolor. These marks define faces, connect objects, and create small moments of emphasis. They behave like drawing laid over painting, or thought attempting to organize sensation.\u003c\/p\u003e\n\u003cp data-start=\"9828\" data-end=\"10141\"\u003eAt the center, these lines become especially dense. The artist’s face, surrounding circle, and nearby objects are drawn more insistently than many of the outer passages. This increased concentration makes the central panel feel like the point where all the surrounding information is being received and processed.\u003c\/p\u003e\n\u003cp data-start=\"10143\" data-end=\"10471\"\u003eThere is also a possible relationship between the grid and comic strips, illustrated manuscripts, or sequences of related images. Each compartment could be one episode in the life of the studio as Lohman moved from one artistic style to another. The viewer moves between them according to color and association rather than chronology.\u003c\/p\u003e\n\u003cp data-start=\"10473\" data-end=\"10746\"\u003eThis fragmented structure reflects the way an artist often experiences ongoing work. Several paintings may be in progress at once, each with its own problems and possibilities. Attention shifts from one to another. A solution found in one piece may suddenly unlock another. The work therefore feels less like a finished portrait of a room than a map of simultaneous creative activity. Lohman shows paintings being imagined, altered, and mentally carried together.\u003c\/p\u003e\n\u003cp data-start=\"10939\" data-end=\"11238\"\u003eThe handwritten title along the edge further reinforces the personal quality of the piece. It feels less formal than a printed caption and more like a note added within the studio itself. The title identifies the subject, but it also anchors an image that might otherwise appear completely abstract.\u003c\/p\u003e\n\u003cp data-start=\"11240\" data-end=\"11618\"\u003eDated 1969, the work belongs to a particularly experimental moment in Lohman’s practice. In \u003ca href=\"https:\/\/visardgallery.com\/products\/electrism-robert-lohman-c-1969?variant=46702878490785\" target=\"_blank\" rel=\"noopener\"\u003e\u003cstrong data-start=\"11332\" data-end=\"11345\"\u003eElectrism\u003c\/strong\u003e\u003c\/a\u003e, also from that year, sharp planes of color create an almost explosive psychological energy. In \u003ca href=\"https:\/\/visardgallery.com\/products\/lovers-robert-lohman-c-1969?variant=46702929969313\" target=\"_blank\" rel=\"noopener\"\u003e\u003cstrong data-start=\"11442\" data-end=\"11452\"\u003eLovers\u003c\/strong\u003e\u003c\/a\u003e, organic washes surround two joined bodies with a sense of intimacy and protection. \u003cstrong data-start=\"11537\" data-end=\"11565\"\u003eThe Artist in His Studio\u003c\/strong\u003e brings those opposing tendencies into the same work.\u003c\/p\u003e\n\u003cp data-start=\"11620\" data-end=\"11871\"\u003eThe angular blue bars and structural divisions recall the nervous energy of \u003ca href=\"https:\/\/visardgallery.com\/products\/electrism-robert-lohman-c-1969?variant=46702878490785\" target=\"_blank\" rel=\"noopener\"\u003e\u003cstrong data-start=\"11696\" data-end=\"11709\"\u003eElectrism\u003c\/strong\u003e\u003c\/a\u003e, while the soft bleeding colors and rounded forms relate more closely to \u003ca href=\"https:\/\/visardgallery.com\/products\/lovers-robert-lohman-c-1969?variant=46702929969313\" target=\"_blank\" rel=\"noopener\"\u003e\u003cstrong data-start=\"11783\" data-end=\"11793\"\u003eLovers\u003c\/strong\u003e\u003c\/a\u003e. The studio becomes the place where these different visual instincts coexist.\u003c\/p\u003e\n\u003cp data-start=\"11873\" data-end=\"12150\"\u003eWithin Lohman’s broader catalog, the work is especially revealing because it offers insight into how he may have understood his own creative identity. His figures often merge with objects, rooms, machines, or one another. Here, the artist himself merges with the entire studio. Lohman does not elevate himself above the work or present creativity as effortless inspiration. The studio is busy, disorganized, and demanding. There is humor in the small dark face surrounded by enormous shapes, as though the artist is only one more object among the paintings. Yet the work is not self-deprecating in a dismissive way. The central placement gives the artist importance even as the surrounding images overwhelm him. He is the point through which the separate panels connect. The studio may be chaotic, but it is his chaos.\u003c\/p\u003e\n\u003cp data-start=\"12730\" data-end=\"13044\"\u003eThe image also complicates the idea of authorship. Are the surrounding forms products of the artist’s mind, or have they developed an independent life? Several shapes resemble hands, eyes, faces, and bodies, making the paintings around him feel inhabited. The artist creates them, but once created, they look back. This gives the work a subtle psychological tension. The artist is surrounded not merely by objects but by presences. Each unfinished canvas contains possibilities that demand recognition. The studio becomes crowded with identities that do not yet fully exist.\u003c\/p\u003e\n\u003cp data-start=\"13307\" data-end=\"13636\"\u003eLohman’s approach feels deeply human because he does not clean up the creative process for presentation. We see the excitement of discovery, but also the accumulation and uncertainty. Not every form becomes meaningful. Not every color resolves into a finished idea. Some sections feel rich and confident; others remain tentative.\u003c\/p\u003e\n\u003cp data-start=\"13638\" data-end=\"13954\"\u003eThat unevenness is precisely what gives the work credibility. An actual studio is not a place where every object is complete and every decision is successful. It is a place where experiments remain visible, where several versions of an idea coexist, and where abandoned work may continue influencing what comes next.\u003c\/p\u003e\n\u003cp data-start=\"13956\" data-end=\"14331\"\u003eThe title \u003cstrong data-start=\"13966\" data-end=\"13994\"\u003eThe Artist in His Studio\u003c\/strong\u003e sounds almost traditional, recalling a long history of artists depicting themselves among the tools of their profession. Lohman uses that familiar title to deliver something much less conventional. Instead of a recognizable room and dignified self-portrait, he gives us a crowded interior made of color, fragments, and competing images. The true studio may therefore be the mind rather than the room. The panels become separate areas of memory, observation, fantasy, and unresolved thought. The face at the center belongs to the person trying to hold them together.\u003c\/p\u003e\n\u003cp data-start=\"14563\" data-end=\"15001\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"14575\" data-end=\"14603\"\u003eThe Artist in His Studio\u003c\/strong\u003e is both a self-portrait and a portrait of creative labor. Lohman does not define himself through appearance, clothing, or status. He shows himself through the forms that surround and partially consume him. The result is an unusually honest image of the artist—not as a solitary genius presiding over finished masterpieces, but as a person living inside an endless and colorful process of becoming.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8106\" data-end=\"8414\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong data-start=\"8106\" data-end=\"8123\"\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e was an American artist associated with Indiana modernism, recognized as both a sculptor and painter. The National Gallery of Art identifies Lohman as an American artist, 1919–2001, and holds examples of his 1966 bronze medallic work created with the Medallic Art Company in its collection.\u003c\/p\u003e\n\u003cp data-start=\"8416\" data-end=\"8993\"\u003eLohman worked across a wide range of media, including watercolor, oil, wood, plaster, ceramics, and bronze. Biographical sources identify him as a portrait and figure sculptor as well as a painter, with formal study at the John Herron Art Institute, Cranbrook, and Yale. He assisted the noted sculptor Carl Milles at Cranbrook Academy and later served as Director of Fine Arts at Cranbrook from 1947 to 1949. Lohman also taught at Washington University in St. Louis and the Indianapolis Art League, where he remained connected to art education and regional modernist practice.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003eHis work often moves between figuration and abstraction, reflecting the eye of a sculptor and the freedom of a modernist draftsman.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e may also be understood within the broader history of underrepresented LGBT artists in the American Midwest. Documentary records connect him closely with Jerrol T. Davis of Indianapolis, who served as Secretary-Treasurer of Robert Lohman, Inc.; Davis’s obituary confirms his role in Lohman’s company, and later memorial sources identify him as Lohman’s spouse. While historical records from this period often leave same-sex relationships only partially documented, the available evidence points to a significant personal and professional partnership that adds important context to Lohman’s life and legacy.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Scene\u003c\/li\u003e\n\u003cli\u003eYear: 1969\u003c\/li\u003e\n\u003cli\u003eSize: 19.0 x 12.6 in (48.26 x 32.0 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1969 - Unknown\u003c\/strong\u003e: Robert Lohman\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnknown - 2026\u003c\/strong\u003e: Private Collector\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Ripley's Auctions\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/7v6b697fdgsoyq7fv8z8r\/AOoojaiTQy2gQ6d3HFlYp5Y?rlkey=b5y5kuh8vrwt3n9h2bg93ilkj\u0026amp;st=dhusmlzy\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search?q=Robert+Lohman\u0026amp;searchField=ArtistCulture\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the Met\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the National Gallery of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46716295905441,"sku":"ART199","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART199_RobertLohman_ArtistinHisStudio_Full.png?v=1784404722","url":"https:\/\/visardgallery.com\/products\/artist-in-his-studio-robert-lohman-c-1969","provider":"Visard Gallery","version":"1.0","type":"link"}