{"product_id":"tourists-robert-lohman-c-1969","title":"Tourists - 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\u003eTourists\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=\"1737\" data-end=\"2192\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1740\" data-end=\"1752\"\u003eTourists\u003c\/strong\u003e, Robert Lohman organizes the composition like a display board filled with people, destinations, and the ephemera of travel. The work is divided into a loose grid, but its sections are uneven and permeable. Figures press into neighboring compartments, black shapes connect separate bodies, and several objects resist a single clear identity. The image feels ordered at first glance, yet the longer we look, the more unstable it becomes.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2194\" data-end=\"2560\"\u003eThe title gives the composition an immediate social context. These are not presented as permanent residents of a shared place. They are visitors—people passing through, looking, recording, and assembling temporary impressions. Lohman reflects that transience by reducing each person to a compressed set of signs rather than developing them as conventional portraits.\u003c\/p\u003e\n\u003cp data-start=\"2562\" data-end=\"2901\"\u003eThe large central figure is the most direct. Its pale oval head is enclosed within green, with a long angular nose, tiny mouth, and a small mark at the forehead. The face seems to looks upward, overwhelmed by the unfamiliar environment. The face becomes a symbol of looking itself: an anonymous traveler positioned before a world of new sights. Below it, the body is described through pale horizontal bands and a broad field of yellow complete with orange pants.\u003c\/p\u003e\n\u003cp data-start=\"3524\" data-end=\"3831\"\u003eThis anonymity feels appropriate to tourism. Travelers are often highly aware of their own experiences, yet to everyone around them they may appear simply as part of a crowd. Lohman captures that contradiction. Each tourist may carry a private narrative, but within the larger composition they become types.\u003c\/p\u003e\n\u003cp data-start=\"3833\" data-end=\"4145\"\u003eBeside the central face is a smaller, more elaborately constructed figure. Its eyes are closed or heavily lowered, while a rounded mouth and radiating dark marks create an expression that is almost somber. A reddish patterned form sits above the head like a hat. The figure’s garment is equally distinctive. A central row of buttons, while green cuffs and a yellow collar add to the dressed quality of the man. This may be another tourist dressed for travel, but reads as a bellhop in an exotic locale.\u003c\/p\u003e\n\u003cp data-start=\"4760\" data-end=\"5025\"\u003eAt the upper right, a large profile is isolated within a pink rectangular field. The face turns inward toward the other figures, with a sharp nose, closed eye, and pursed lips. It feels calmer and more self-contained than the central figure, but also more detached. Because it is framed so cleanly, the profile resembles a portrait, photograph, sign, or sculpture. It most likely represents the sculpture and arts one sees on a trip.\u003c\/p\u003e\n\u003cp data-start=\"5385\" data-end=\"5706\"\u003eBelow this profile, another figure is reduced to a pale circular head resting on a gray-blue semicircle and a body formed from long tapering triangles. The shape could describe abstract art paired with our sculptural bust.\u003c\/p\u003e\n\u003cp data-start=\"5708\" data-end=\"6013\"\u003eThis slippage between figure and object is one of the work’s strongest qualities. Tourists often experience a destination through equipment and structures: cameras, signs, viewing platforms, vehicles, hotel furniture, and museum displays. Lohman allows those things to merge with the travelers themselves.\u003c\/p\u003e\n\u003cp data-start=\"6015\" data-end=\"6299\"\u003eThe far-left section is similarly a vignette of travel. A dark striped oval sits near the lower edge, connected by diagonal lines to a larger gray form with a rectangular opening. Above it, blue marks rise against a pale yellow field, while a triangular shape occupies the uppermost compartment. The form then becomes clearly a sight to be seen while one is traveling. \u003c\/p\u003e\n\u003cp data-start=\"7283\" data-end=\"7599\"\u003eThroughout the composition, yellow and green establish a warm, slightly faded atmosphere. These colors suggest sunlight, hotel interiors, maps, painted walls, and the washed-out appearance of older travel photographs. Blue, pink, brown, and black provide structural accents, but no single color dominates completely.\u003c\/p\u003e\n\u003cp data-start=\"7601\" data-end=\"7912\"\u003eThe watercolor handling is loose and translucent. Pigment gathers unevenly at the edges, producing soft borders and small variations in intensity. This gives the work the feeling of a memory rather than a precise record. The trip has been retained through fragments, but some details have already begun to blur.\u003c\/p\u003e\n\u003cp data-start=\"7914\" data-end=\"8303\"\u003eLohman’s grid provides a counterpoint to that looseness. Horizontal and vertical divisions organize the sheet like a collection of snapshots placed together in an album. Yet the sections vary dramatically in scale. A face may fill an entire compartment, while another figure is compressed beside it. This creates the sense that emotional importance, not physical distance, determines size.\u003c\/p\u003e\n\u003cp data-start=\"8305\" data-end=\"8563\"\u003eThe format also resembles a bank of windows. The tourists could be sitting inside a bus, train, hotel, or terminal, moving across the visions of Lohman's journey. Alternatively, they may represent separate encounters gathered from different moments in one journey. There is no single landscape linking the figures. Lohman gives us no dependable city, monument, or natural view. The destination remains absent. This is a telling choice for a work titled \u003cstrong data-start=\"8753\" data-end=\"8765\"\u003eTourists\u003c\/strong\u003e. The travelers and their habits become more important than the place they have traveled to see.\u003c\/p\u003e\n\u003cp data-start=\"9813\" data-end=\"10219\"\u003eCreated in 1969, the work belongs to a period when tourism was becoming increasingly connected to commercial aviation, packaged itineraries, modern hotels, and personal photography. Travel was no longer reserved for a small elite, and the tourist became a more familiar modern type. Lohman responds not by depicting a jet or famous landmark, but by examining the visual habits that accompanied this change.\u003c\/p\u003e\n\u003cp data-start=\"10221\" data-end=\"10568\"\u003ePhotography promised proof of experience: the traveler could bring home an image confirming that the journey had occurred. Yet taking a picture could also replace sustained looking. The camera records the destination while creating a barrier between the tourist and what is directly in front of them. Lohman’s compartmental design behaves almost like a series of photographs. Each section contains an isolated appearance, but the complete experience remains fragmented. The viewer receives evidence of several people and objects without being able to reconstruct the journey itself.\u003c\/p\u003e\n\u003cp data-start=\"10853\" data-end=\"11314\"\u003eWithin Lohman’s broader catalog, \u003cstrong data-start=\"10886\" data-end=\"10898\"\u003eTourists\u003c\/strong\u003e demonstrates his ability to use abstraction for social observation rather than purely private psychology. In works such as \u003ca rel=\"noopener\" href=\"https:\/\/visardgallery.com\/products\/lovers-robert-lohman-c-1969?variant=46702929969313\" target=\"_blank\"\u003e\u003cstrong data-start=\"11022\" data-end=\"11032\"\u003eLovers\u003c\/strong\u003e\u003c\/a\u003e, fragmented forms communicate intimacy; in \u003ca rel=\"noopener\" href=\"https:\/\/visardgallery.com\/products\/electrism-robert-lohman-c-1969?variant=46702878490785\" target=\"_blank\"\u003e\u003cstrong data-start=\"11076\" data-end=\"11089\"\u003eElectrism\u003c\/strong\u003e\u003c\/a\u003e, they describe speed and overstimulation; and in \u003ca rel=\"noopener\" href=\"https:\/\/visardgallery.com\/products\/artist-in-his-studio-robert-lohman-c-1969?variant=46716295905441\" target=\"_blank\"\u003e\u003cstrong data-start=\"11139\" data-end=\"11167\"\u003eThe Artist in His Studio\u003c\/strong\u003e\u003c\/a\u003e, they visualize creative accumulation. Here, the same formal freedom captures the temporary identities and divided attention of people in transit.\u003c\/p\u003e\n\u003cp data-start=\"11316\" data-end=\"11530\"\u003eThe human figure remains recognizable, but it is flattened into symbols, masks, clothing, and equipment. Lohman is interested less in who these people are than in how tourism changes the way they appear and behave. The title’s plural form is important. There is no central focal traveler. Instead, Lohman presents a type of collective experience. The figures differ visually, but they have been arranged within the same system of frames. Individuality survives only in fragments.\u003c\/p\u003e\n\u003cp data-start=\"11799\" data-end=\"12073\"\u003eThat creates an interesting relationship between seeing and being seen. Tourists travel in order to look, but they are also highly visible to others. Their clothing, cameras, gestures, and uncertainty identify them as outsiders. Lohman turns the observers into the observed. The viewer occupies a similar position. We look across the sheet as though scanning a crowd, quickly assigning identities to simplified forms. In doing so, we repeat the same process of visual categorization that the work may be questioning.\u003c\/p\u003e\n\u003cp data-start=\"12318\" data-end=\"12718\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"12330\" data-end=\"12342\"\u003eTourists\u003c\/strong\u003e is not about a particular vacation or destination. It is about the strange state of being temporarily displaced—surrounded by unfamiliar things, eager to record them, and reduced in the eyes of others to a recognizable type. Lohman presents travel as a collage of looking, posing, collecting, and remembering, with each person becoming one more image inside the larger album.\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: Figures\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\u003eFoxing present.\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":46716554018977,"sku":"ART200","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART200_RobertLohman_Tourists_Full_202f2adc-53d6-44d9-936a-868dccdfcaca.png?v=1784409780","url":"https:\/\/visardgallery.com\/products\/tourists-robert-lohman-c-1969","provider":"Visard Gallery","version":"1.0","type":"link"}