• Late Winter Walker

    Late Winter Walker

    I jumped to use this process today because I was eager to try it out. I took a photo, altered it in terms of saturation and lightness in Photoshop, took a photocopy on the office printer, then colored with colored pencils. Quick and easy way to get a good reproduction to use for a detailed value and hue study. My model was graciously generous, even though I flubbed the recording again and again. Turns out I had enough. This is a first step or a study or cartoon to use for a freehand painting, so I am looking forward to the next part.

  • CV

    Arthur L. Nichols
    PO Box 205
    S Freeport ME 04078-0205

    Teaching Experience

    Access Coordinator, Portland Media Center, Portland, ME, 2007- present. Instructor in Adobe Premiere Pro, Premiere Elements, and Photoshop.
    Portfolio Advisor, 2000, 2003
    Watercolor Workshop Instructor, Maine Arts Festival, 1997
    Substitute faculty in middle and upper school programs, Waynflete School, Portland, ME, 1990-94: Many subjects including Middle and Upper School Art
    Instructor in Video Storytelling, Painting and Drawing, Summertime Arts program, Waynflete School, Portland, ME, 1992, 93
    ESL instructor, Portland, ME, 1992
    Workshop Instructor, designer, Signs and Symbols, Freeport Middle School, Freeport, ME, 1991: a Children’s Workshop on the work of Adolph Gottlieb
    Private tutor in English, history, and math, 1990-2004
    Instructor in drawing, paintings, collage, puppetry, Damariscotta Children’s Art Workshops, Damariscotta, ME, 1976
    Undergraduate Painting Assistant, Gallery Assistant, Foundations Assistant, Antioch College, 1971,2,3


    Visual artist represented in many private collections.
    Member, Union of Maine Visual Artists.
    Portland Media Center; liaison to the UMVA and the UMVA Gallery, 516 Congress St, Portland, ME, 04101
    Artist in Residence, Garden restoration project, Spannocchia Foundation, Castello di Spannocchia, Italy, 2003
    Self employed builder, designer, 1976-99
    Children’s Museum of Maine, Exhibit design and creation, 1993, 94
    Professional Stagehand, member, IATSE, providing all manner of technical assistance to professional music, theater, dance, and other performing arts programs, 1977-94
    Set design and Decoration: West Side Story, Portland Players, 1982; The Parachute, USM, Portland ME, 1979; Two by Two, PolyArts, Portland, ME, 1977
    Technical Assistant, The Tower, Living Theater, Venice Biennale, Venice, Italy, 1975
    Technical Assistant, Circle Game, Ann Arbor Midwestern College Experimental Theater Festival, Ann Arbor, Michigan, 1974


    Life Study; Maine College of Art (MECA), Portland Drawing Group, USM Friday open life study group, and other groups, 1980-2019
    Architectural Drawing and Design, S ME Tech Institute 1979; Me Charitable Mechanics Society, 1980
    Graphic Design, School of the Museum of Fine Art, Boston, Massachusetts, 1978
    Lithography Workshop with Jack Meunch, Westbrook College, Portland, Maine, 1977
    Florence, Italy, 1975: Study of multi-media /performance art, Il Spectacolo, University of Florence, Italy. Drawing study at Atelier of Peter Hamilton; Study of Italian Renaissance
    Antioch College, B.A., 1973, Art and Communication: Painting, Lithography, and Video. Painting Assistant, Gallery Assistant, Foundations Assistant
    Phillips Exeter Academy, 1969: Senior Project in Painting; New England Prep School Art Show, juror’s award, honorable mention in painting

    Farm to Easel, Wolfe's Neck Center for Agriculture & the Environment, 2017, 18
    Union of Maine Visual Artists, Member exhibitions, 2015 - present. Contributor, UMVA Quarterly,
    Notebooks; Drawings and Watercolors from my Notebooks. Chalkboard Gallery, Portland, Maine, 2014
    2X2X4: Two Generations, Two Families, Four Artists. Group Show, Chalkboard Gallery, Portland, Maine, 2014
    Time Gallery, 516 Congress Street, Portland, ME., Recent Work, 2008
    Union of Maine Visual Artists invitational, Maine Photographic Institute (Maine Media Workshops), Rockport, Maine, February 10 through March 25, 2006
    The Dream, the Dreamer, and the Dreamed, Solo Exhibition, 22 Exchange St, Portland, ME, December 2005, 35 years of painting
    Flora and Fauna of Spannocchia, Freeport Community Library, Freeport, ME, 2004: drawings and paintings
    Residents Show, Freeport Community Library, Freeport, ME, 2004: drawings and paintings
    Spannocchia Garden Preservation Project exhibit, Freeport, ME, 2003: drawing and paintings
    Coastal Cottage Furniture, Kennebunkport, ME, 2003: paintings,
    Maine Cottage Furniture, Yarmouth, ME, 2002,3: paintings
    More Flesh: Group show of Portland Drawing Group, Three Fish Gallery, 2000
    Muralist, the Maine Festival, 1996
    Waynflete School Parents and Friends Exhibition, Portland, ME, 1994,5,6; drawings and paintings
    West Side restaurant, Portland, ME, 1993: drawings and paintings
    Trove Gallery, Portland, ME, 1992: paintings
    Maine Cottage Furniture, Yarmouth, ME, 1991: paintings
    Formaggio Stores, Cambridge, MA, 1978; drawings and paintings
    Portland Live!, Portland Public Library, 1977: paintings
    Maine Art Gallery invitational, Wiscasset, ME, 1975: paintings
    Sheepscot River Pottery, Wiscasset, ME, 1975. Pastels
    Damariscotta Workshop and Gallery, Damariscotta, ME, 1975: Paintings, puppetry
    Rainbow Galleries, Dayton, Ohio, 1973: One Man Show of Paintings

  • Bio

    Arthur Lee Nichols was born and bred in Maine. He started his work in grammar school; the art teacher in that State of Maine two-room schoolhouse was a family friend, and had also been to Paris as a young woman! He was not so much in love with her as enamored of her experience of the world. In high school, Arthur used art as a means of expression and communication for what was likely typical adolescent pain, sharpened by the death of his father and flavored by the turmoil of assassinations on the national stage. Works of the time included paintings of women waiting in the dark, and judges deliberating through their power, deserved or not. His studies continued at Antioch College, that hotbed of progressivism wallowing in the mire of the early 70’s social soup. The death of his closest brother threw him into despair alternating with arrogance born of fear. Experimentation was the order of the day, a positive and naive attempt at the alchemy of change beyond the limits of material existence. Hubris of the twenty-something would brook no barriers. He painted on mirrored mylar and scraped the chrome off glass mirrors looking for secrets in physics and light. Arthur made holograms, and painted with air. He worked on theater productions, doing set design and lighting, and gazed google-eyed at the first pictures of the green-blue planet seen from outer space.

    In 1974, Arthur married and traveled to Florence, Italy to study Il Spectacolo! at the University of Florence. When that experience failed to materialize, he then tagged along with the Living Theatre during their inclusion in the Venice Biennale of that year, dodging the carbinieri while fomenting revolution and stoned grooviness. He and his wife, Juanita Cuellar, later returned to Maine to raise a family. His paintings and drawings of the period were of personal and local subject matter. He worked professionally as a theatrical stagehand, and volunteered in the community building sets in local theaters and churches. Life and figure study classes were constant connectors to his art practice. Studies of Buddhism brought the concepts of inter-being and the impermanent nature of reality to his painting, which began to depict the world as a fabric, woven together by color and movement.

    Following a life-threatening heart attack in 1999, he started painting with gold, and began to paint circles, illuminating the inside and the outside. Throughout the grinding drudgery of daily life, he struggled to synthesize mundanity and transcendence into a cohesive and meaningful whole, and began working on New Millennium paintings, which evolved into the Sangha series of paintings and drawings. Many of the works draw from myth, and he attempts to escape representation to bring old ideas into a contemporary language of form, color and symbol. Most recently, Arthur has worked to integrate some of the Sangha ideas into a study of wave forms; as he states; “There are waves all around us. You can see some of them.”