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Home Paintings

Perfect North Ski Resort

Emerald Isle, North Carolina

Harrisburg, PA


Evanswood home painting in the traditional method second pass by Tom Lohre.

Evanswood Home, 20" x 16", after fourteen days, Traditional

Oil pastel impressionist painting of Lake Tahoe by Tom Lohre.

Lake Tahoe, Oil pastel on metal, 12" x 16" x 28 gauge metal, April 10, 2015; Framed in a Neapolitan style simulated gold leaf over clay over wood with no seam in corners.
This work was created while vacationing in Lake Tahoe. After studying the landscape Tom settled on this view as the quintessential Tahoe. A snow boarder flying through the air, passing a tall snow covered pine with the lake in the distance. The raw outdoors drives the allure of Tahoe. Hiking, biking, sailing, kayaking and skiing all make the area a dream of physicality.

Perfect North Ski Resort oil  pastel on metal by Tom Lohre.

Perfect North V, Oil pastel on metal, 20" x 16", Sunday, February 8, 2015


Shelter House Video

Devou Park Shelter House, Covington  Kentucky by To m Lohre.

Devou Park, Covington, Kentucky, Shelter House, 20" x 16", oil pastel on metal, September 13, 2014
Tom grew up at the corner on Montague and Breckinridge. He remembers seeing the nightly dances at the shelter house when the juke box would play every night and the cars would line up and drive by. David Mann was a young driving teen at the time. Something happened to stop the impromptu dances for they stopped around 1959. Later, after “The Great Escape” with Steve McQueen, motorcycles would drive over the hills of the park and they put a stop to that.
He remembers every picnic table filled on the weekend. Ball fields were every twelve-hundred feet full of players till well after dusk.
Auctioned off at 2014 FreshArt, Berhringer-Crawford Museum, 1600 Montague Road - Devou Park Covington, KY 41011 859-491-4003

The Clifton cow "Cincy Freedom" Takes a Break From Her Escape

Monday December 15th, 10" x 8", Traditional Dutch oil painting in the manner of Jan Van Der Heyden, 1637-1712

Evanswood Home oil on canvas by Tom Lohre.

Evanswood Home, 16" x 12", oil on canvas, used on the cover of the Clifton Chronicle

Li Lac Chocolates, Christopher St, NYC

Li Lac Chocolates, Christopher St, NYC, 12" x 16", Oil on canvas, 1994

Surgar Loaf Mountain cococaban Rio from the military battery oil painting by Tom Lohre.

Surgar Loaf Mountain, Rio Janerio, Bazil, 16" x 12", Oil on canvas, March 7, 2005

French Dairy Farm, 20” x 16”, 1990
Painted on location outside of Geneva, Switzerland, Tom was in Monte Carlo on commission and while in Europe paid a visit to his friends in Geneva. Tom stayed in Ferney-Voltaire fifteen miles outside of Geneva. Voltaire’s Chateau is right behind this farm house which probably served the Chateau. Tom spent ten days painting on a stone bench across the street. He never met the family. No one came over to see what he was doing. Later Tom sent them a coffee cup with the painting on it but never heard back from them.

Small Village atop Portsmouth, England painting by Tom Lohre

English Village above Portsmouth, 10" X 8", Oil on canvas, February, 2001

Tom visited long time artist friend John Rouse and painted with him in the field over the week. The shop across the street is the local quick store and post office. Tom painted the girls there simulating the flow of knowledge from master to student.

Oil painting of New York City's Central Park by Tom Lohre.

Central Park, New York City, 24" 20", oil on canvas, May 1978, painted from life for the aunt and uncle of a girlfriend.

Covington Landing

Covington Landing, 36" x 24", Oil on canvas, 1988

Suzy & Mick Ronson's Home Oil on canvas, 16" x 12", Fall 1987


Colony Hotel, Palm Beach

Colony Hotel, Palm Beach, 30" x 30", Oil on canvas, 1980

Mount St. Helens in Art
Feb 8, 2020 – May 17, 2020

From the show:
Volcanic eruptions have long been depicted by artists because they are the most visually spectacular manifestations of nature’s awesome power. Earthquakes, fires, and hurricanes can affect much larger areas, but few are as breathtakingly beautiful. Pacific Northwest artists who witnessed the eruption in 1980 were compelled to express their experience of nature at its most violent. Henk Pander recorded the visual wonder in numerous watercolors and a large oil painting that normally hangs in City Hall. George Johanson adopted the erupting volcano in subsequent depictions of himself and made it virtually a symbol of the city in his many timeless depictions of Portland. Lucinda Parker also took up the subject and endowed it with her distinctive painterly energy; the exhibition will include a large painting that Parker recently completed. Barbara Noah and Ryan Molenkamp, both from Seattle, explored the event as reflection of our emotions and states of mind when confronted with an overwhelming event.

Henk Pander (American, born The Netherlands, 1937), Eruption of Saint Helens from Cable Street, 1981 (a/k/a View of P



ount Saint Helens, Watercolor on paper, 12" x 9" 1980

Painted from life after hitchhiking up from Los Angeles. Tom had been keeping an eye on the events surrounding the mountains activity from his apartment in New York City. In exchange for a painting, Tom received a ticket to Los Angeles. From there he traveled to within 28 miles to the South of the Mountain. The hitchhiking went well with a full experience of what it was like to hitchhike up the coast. The Californian manner was to form a queue along side the entrance ramp with the last to come the last in place. In Sacramento Tom was befriended by a psycho. He was catapulted from San Francisco to San Jose in a Porsche driven by a beautiful long legged blond playing Exiles on Main Street. Tom visited friends in Los Angeles and relatives in Fresno. Ben Burton was a teacher and hobbyist painter. He and Tom went out into the field one day and work on a local slue. He gave Tom a copy of Robert Henri's "The Sprit of Art."  In Los Angeles Tom painted still life's of oranges, water coolers and rows of newspaper boxes.

Traveling with a black vinyl suitcase the only other piece of luggage was a guitar. Tom did not play very well but it tagged along anyway. His paint supplies were limited to a watercolor tablet.

The strangest ride was his last to the mountain. Outside Portland Tom was picked up by a lumberjack on his way back to the apartment next to the logging site, just at the base of the mountain on the Western side. He had to make one stop along the way to get a draw on his pay from the boss. I sat in the car waiting as I examine his unusual steering configuration. It had no support so that to drive the car you held the wheel about center and turned. It rested on your legs when you were not using it.

He got the draw and soon we were at the small apartment building, one story strip of about four apartments. I set to work drawing a mural on the wall as the night led on into a party. In the morning the sky was cloudy and it was to be sunny. It took no time to realize that the mountain had exploded during the night and we quickly organized a trip to the next mountain to the South, Tum Tum mountain. They left me there for the day as I rapidly painted four watercolors, one right after the other until dark. It was very lucky that Dave, my logging friend, was not at his logging site, for it was Sunday. The area was covered with ash. There was no ash where we were for the wind was blowing 45 miles an hour to the East. Being twenty-six miles to the South the dust did not settle in Chelachie Prairie until a a day or so later. Spirit Lake was just across the road from the apartment building as well as the Forest service building and a quick store.

There was lighting all afternoon coming from the edges of the erupting dust to the edges of the mountain. The eruption cloud went all the way up to the edge of the sky. You felt no movement from the ground during its eruption. As the day neared dusk the dust cloud leveled out.

He brought the four watercolors back to New York and later Cincinnati were they were shown at a local gallery with newspaper article.

Tom learned from the experience that painting great events does not make a great painting. It was a lesson that he did not learn until years later and in the mean time painted the first shuttle launch and the various planets that Voyager II encountered live during the encounters at the Jet Propulsion Laboratory.

The view from Keyhole EarthViewer, now Google Earth. In the foreground is Spirit Lake.

Chelatchie Prairie Information

Prairie Yale Lake Amboy

Compiled from Columbian archives
February 22, 1979
The big sign on the general store boasts that the building sits "in downtown Chelatchie Prairie."
It is the only store in town.
Among the hundreds of items for sale in the country store is a bumper
sticker: Where's Amboy? I'm from Chelatchie."
While the average person probably doesn't know where either Amboy or Chelatchie is on the map, the residents of the rural community 30 miles northeast of Vancouver take a special pride in their isolation.
"People here like to say they're from Chelatchie," explained Kathleen Handsacker who, with her husband Walter, owns and operates the Chelatchie Prairie General Store.
One of the more historic rural areas in Clark County, Chelatchie Prairie apparently was settled in the early 1860s. The fertile valley ringed by mountains and drained Chelatchie Creek was well-suited for growing grain and vegetables, and the area was among the first settled in the northern part of the county.
Chelatchie, according to historians, is an Indian word meaning a flat area covered with ferns. The earliest settlers found the prairie covered with ferns and other low vegetation, easily cleared to prepare the land for tilling.
By far the most prominent and eye-catching geologic feature of the area in Tum Tum Mountain, a symmetrical hill rising 1,500 feet above the plain. This mountain, which has become the symbol of Chelatchie, resembles a huge gumdrop.
Tum Tum, according to legend, means heart, and might have been so named because it vaguely resembles an inverted heart.
Another legend insists a famed Indian chief lies buried at the summit.
At one time, two school districts, Chelatchie and Tum Tum, served the area.
These districts consolidated in 1914, forming Chelatchie Valley District 84.
There had been several earlier schools in the area, but after the consolidation a "modern" school was built on the site now occupied by the Mt. St. Helens Ranger District Work Center of the U.S. Forest Service.
Now, all of those old districts are part of the Battle Ground School District. Elementary pupils from Chelatchie Prairie attend nearby Amboy School while high school students must be up at 6:30 a.m. to catch buses for the long ride into Battle Ground.
Although the Amboy School population has risen dramatically in the past year
- from 470 to 530 pupils - most of this growth has occurred south of Amboy.
"I know of only two families who have moved into Chelatchie Prairie during the year," said a school secretary.
Frank Emerick, road inspector for the Forest Service, is a lifelong resident of the area. He said there have been few signs of growth, despite the big International Paper Co. lumber and plywood mill that sits in the middle of the prairie.
Many of the historic farms are still intact, Emerick said, but few residents make their living from the soil.
The lumber and plywood mill, the only major industry in the Battle Ground School District, was constructed in 1960 to replace Long-Bell operations in Longview which were phased out. The Chelatchie Prairie mill has employed about 600 men and women, including those who work in the woods and haul the big logs to the mill.
Most of these workers, however, commute to their jobs, some from long distances. Some drive each day from Longview-Kelso or even from Oregon.
The economy of Chelatchie Prairie has moved up and down, depending on the cycle of the lumber industry. At present, residents said, there is a slump, and quite a few employees have been laid off.
Across the road from the general store sits a huge stack of fireplace wood.
Mrs. Handsacker said unemployed loggers cut the wood to supplement their unemployment benefits. It is sold for $40 a cord, with some customers driving out from Portland to buy it.
Mrs. Handsacker said she and her husband have complete confidence in the future of Chelatchie, no matter what happens to the lumber mill, which has been up for sale.
"We intend to build a new store across the road and turn this building into a tavern," she said. "We really like this area and believe it has great potential."
While there is little evidence of any new homes or building growth, she said, "We have at least 200 families stuck back up in the hills. Many of them are old-time families, although there are some transient younger people."
Mrs. Handsacker said there are a few attractions to hold young people in Chelatchie Prairie, but some effort is being made to provide some forms of entertainment for them. A large community hall, with a sign on it that reads Tum Tum Log Cabin Club, is being refurbished and may be used for dancing and other community activities, she said.
"We welcome growth," she added. "We just don't want to see it come too fast."

Fresno Slew

Fresno Slew

20" x 16", Oil on canvas, 1980, Painted from life with Ben Burton set up nearby. He was Tom's uncle and lived in Fresno. A hobbist painter, they enjoyed thenselves for a day until Tom continued his hitchiking up the coast to Mt. Saint Helens.



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