{"product_id":"between-two-presences-robert-lohman-c-1980","title":"Between Two Presences - Robert Lohman, c. 1980","description":"\u003carticle data-turn=\"assistant\" data-scroll-anchor=\"true\" data-testid=\"conversation-turn-6\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" dir=\"auto\" 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)))]\" 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-model-slug=\"gpt-5-2\" 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\" dir=\"auto\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" data-message-author-role=\"assistant\"\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 height=\"1543\" style=\"width: 98.087%;\" width=\"100%\"\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-end=\"53\" data-start=\"0\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBetween Two Presences*\u003c\/strong\u003e\u003cbr data-end=\"56\" data-start=\"53\"\u003e\u003cem data-end=\"88\" data-start=\"56\"\u003eRobert Lohman, c. 1980\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle data-turn=\"assistant\" data-scroll-anchor=\"true\" data-testid=\"conversation-turn-6\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" dir=\"auto\" 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)))]\" 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-model-slug=\"gpt-5-2\" 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\" dir=\"auto\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" data-message-author-role=\"assistant\"\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-model-slug=\"gpt-5-2\" 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\" dir=\"auto\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" data-message-author-role=\"assistant\"\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=\"1952\" data-end=\"2424\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1955\" data-end=\"1980\"\u003eBetween Two Presences\u003c\/strong\u003e, Robert Lohman organizes the composition around an unequal triad. Two expansive abstract faces dominate the upper half of the sheet, while a much smaller figure occupies the compressed space between and below them. This imbalance of scale establishes the work’s emotional structure before any specific narrative can be assigned to it. The larger figures possess visual authority; the central figure appears contained within their shared field.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2426\" data-end=\"2897\"\u003eThe face at the upper left is broad, rounded, and inwardly directed. Its eye appears closed or lowered, giving it an introspective quality. The descending nose, curved mouth, and heavy gray modeling produce an expression that feels contemplative, protective, or sorrowful. Lohman does not outline this head as a single continuous form. Instead, it is assembled from several overlapping contours, as though the face is simultaneously turning, remembering, and withdrawing.\u003c\/p\u003e\n\u003cp data-start=\"2899\" data-end=\"3289\"\u003eThe upper-right figure is more angular and outwardly expressive. Its profile points toward the center, with a sharply defined nose and lips that appear slightly pursed. These lips could suggest speech, confrontation, breath, or affection. The surrounding lines extend outward in sweeping arcs, giving the face a sense of movement that contrasts with the more withdrawn presence on the left.\u003c\/p\u003e\n\u003cp data-start=\"3291\" data-end=\"3639\"\u003eTogether, the two large heads create a psychological enclosure. Their profiles lean toward the central area from opposite directions, producing a space that is intimate but also constricted. The smaller figure seems protected between them, yet it may equally be trapped beneath their emotional weight. Lohman permits both readings to remain active.\u003c\/p\u003e\n\u003cp data-start=\"3641\" data-end=\"4068\"\u003eThe central figure is difficult to separate from the surrounding forms. Its small head appears near the lower middle, while pale, petal-like contours gather around it. The uncertainty is important. Rather than clearly illustrating three independent people, Lohman shows identities being formed through contact and overlap.\u003c\/p\u003e\n\u003cp data-start=\"4070\" data-end=\"4413\"\u003eThis central figure provides the composition’s emotional anchor. The larger faces may be understood as parental figures, lovers, companions, memories, or projections of the central person’s own divided consciousness. Because Lohman supplies no narrative accessories or recognizable setting, the drawing remains open to several interpretations.\u003c\/p\u003e\n\u003cp data-start=\"4415\" data-end=\"4777\"\u003eOne possibility is that the scene represents a person suspended between two opposing influences. The downward-looking face on the left may embody restraint, grief, or interior reflection, while the profile on the right conveys desire, urgency, or external engagement. The central figure would then occupy the unstable territory between withdrawal and connection.\u003c\/p\u003e\n\u003cp data-start=\"4779\" data-end=\"5242\"\u003eThe composition may also be read as an image of memory. The large faces do not seem to occupy conventional physical space. They loom above and around the central figure like enlarged recollections whose emotional importance has altered their scale. Lohman frequently used distortion to express psychological rather than optical reality, and here the disproportionate heads may indicate the overwhelming presence that remembered individuals retain within the mind.\u003c\/p\u003e\n\u003cp data-start=\"5244\" data-end=\"5695\"\u003eThe interaction between the upper figures also contains a possible erotic or affectionate charge. The right-hand profile leans inward with lips extended, while the left-hand figure appears to lower its face toward the same central region. Yet Lohman prevents the image from becoming a straightforward depiction of romantic intimacy. The bodies do not meet naturally, and the central figure complicates any simple exchange between the two larger heads.\u003c\/p\u003e\n\u003cp data-start=\"5697\" data-end=\"5980\"\u003eThis ambiguity gives the work emotional richness. It could depict affection shared among several figures, a person caught between two relationships, or an internal self surrounded by competing forms of attachment. Tenderness and pressure coexist within the same visual structure.\u003c\/p\u003e\n\u003cp data-start=\"5982\" data-end=\"6341\"\u003eLohman reinforces this complexity through the fluidity of his line. Bold contours establish the principal faces, but thinner lines pass through and across them, refusing to respect anatomical boundaries. A cheek becomes part of another head; a neck passes into a shoulder or arm; a dark shape may function simultaneously as hair, clothing, and negative space.\u003c\/p\u003e\n\u003cp data-start=\"6343\" data-end=\"6705\"\u003eThe gray washes are similarly unstable. Some follow the curves of recognizable facial forms, while others behave more abstractly, gathering into broad masses that hold the composition together. Lohman alternates between translucent and opaque passages, creating the sense that some presences are more substantial while others are fading, emerging, or remembered.\u003c\/p\u003e\n\u003cp data-start=\"6707\" data-end=\"7060\"\u003eThe absence of a background is also significant. Unlike \u003cstrong data-start=\"6763\" data-end=\"6796\"\u003eFigures in a Divided Interior\u003c\/strong\u003e, which places its occupants within a patterned domestic environment, \u003cstrong data-start=\"6866\" data-end=\"6891\"\u003eBetween Two Presences\u003c\/strong\u003e offers no room, furniture, or architectural framework. The figures exist in an open psychological field. Nothing distracts from their emotional and formal entanglement.\u003c\/p\u003e\n\u003cp data-start=\"7062\" data-end=\"7494\"\u003eThis isolation separates the work from Lohman’s political black-and-white series of the early 1970s. In \u003cstrong data-start=\"7166\" data-end=\"7182\"\u003eSurveillance\u003c\/strong\u003e and \u003cstrong data-start=\"7187\" data-end=\"7199\"\u003eWatchers\u003c\/strong\u003e, multiplied eyes, listening forms, directional signals, and mechanical ambiguities communicate anxiety about monitoring and institutional control. Although \u003cstrong data-start=\"7356\" data-end=\"7381\"\u003eBetween Two Presences\u003c\/strong\u003e shares the restricted palette and fragmented anatomy of those works, its emotional concerns appear more private.\u003c\/p\u003e\n\u003cp data-start=\"7496\" data-end=\"7882\"\u003eHere, the distortion does not suggest that the figures are watching one another. Several eyes are closed, lowered, or only minimally defined. The composition is governed less by vigilance than by touch, nearness, and psychological dependence. Its tension arises not from an unseen state apparatus but from the difficulty of maintaining an individual identity within close relationships.\u003c\/p\u003e\n\u003cp data-start=\"7884\" data-end=\"8222\"\u003eThe work therefore demonstrates how Lohman could employ a similar formal vocabulary—fragmented profiles, exaggerated scale, overlapping bodies, and monochromatic washes—to address substantially different subjects. The same distortions that convey paranoia in one context can communicate intimacy, memory, or emotional conflict in another.\u003c\/p\u003e\n\u003cp data-start=\"8224\" data-end=\"8616\"\u003eLohman’s sculptural instincts remain visible throughout the drawing. The figures are built from broad masses and carved contours rather than delicate modeling. The large heads feel almost like relief sculptures pressed into the shallow surface of the paper. Their rounded volumes overlap and interlock, while the smaller central figure functions almost as a joint connecting the larger forms.\u003c\/p\u003e\n\u003cp data-start=\"8618\" data-end=\"8954\"\u003eThis method reflects Lohman’s broader practice across drawing, painting, ceramics, and sculpture. He repeatedly treated the body as a flexible expressive structure rather than a fixed anatomical fact. A face could be stretched to communicate longing, divided to suggest conflict, or compressed against another body to convey dependence.\u003c\/p\u003e\n\u003cp data-start=\"8956\" data-end=\"9400\"\u003eThe two large faces in \u003cstrong data-start=\"8979\" data-end=\"9004\"\u003eBetween Two Presences\u003c\/strong\u003e are not individualized portraits in the traditional sense. Their features are too abstracted and structurally manipulated to provide straightforward likenesses. Yet they possess distinct emotional identities. The left presence feels inward, heavy, and reflective; the right feels active, direct, and reaching. Lohman differentiates them through gesture and shape rather than naturalistic detail.\u003c\/p\u003e\n\u003cp data-start=\"9402\" data-end=\"9800\"\u003eThe small central figure introduces a third emotional register. Its diminutive scale suggests youth, vulnerability, dependence, or a self made small by the influence of others. Yet its central placement also gives it structural importance. The entire composition bends around this figure. The two larger presences may dominate visually, but their relationship is defined by the person between them.\u003c\/p\u003e\n\u003cp data-start=\"10135\" data-end=\"10544\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThe painting examines the porous boundary between individual identity and emotional attachment. Lohman presents the self not as an isolated, stable form but as something shaped by proximity, memory, and the influence of others. The central figure is protected and threatened by the same surrounding forms, making \u003cstrong data-start=\"10459\" data-end=\"10484\"\u003eBetween Two Presences\u003c\/strong\u003e a compelling study of intimacy as both refuge and pressure.\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\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\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\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"8414\" data-start=\"8106\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong data-end=\"8123\" data-start=\"8106\"\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-end=\"8993\" data-start=\"8416\"\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-end=\"9475\" data-start=\"8995\"\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-end=\"9475\" data-start=\"8995\"\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-end=\"9475\" data-start=\"8995\"\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: Figure\u003c\/li\u003e\n\u003cli\u003eYear: 1980\u003c\/li\u003e\n\u003cli\u003eSize: 13.0 x 10.0 in (33.0 x 25.4 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-start=\"78\" data-end=\"119\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-start=\"119\" data-end=\"122\"\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\u003e1980 - 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 rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/7v6b697fdgsoyq7fv8z8r\/AOoojaiTQy2gQ6d3HFlYp5Y?rlkey=b5y5kuh8vrwt3n9h2bg93ilkj\u0026amp;st=dhusmlzy\u0026amp;dl=0\" 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 href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\" style=\"color: rgb(80, 197, 215);\"\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 rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search?q=Robert+Lohman\u0026amp;searchField=ArtistCulture\" 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 rel=\"noopener\" href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" 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":46702404141217,"sku":"ART192","price":425.0,"currency_code":"USD","in_stock":true}],"url":"https:\/\/visardgallery.com\/products\/between-two-presences-robert-lohman-c-1980","provider":"Visard Gallery","version":"1.0","type":"link"}