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Naomi Brotherton

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Showing 37–48 of 89 results

  • Closing Time ll – Naomi Brotherton


    Closing Time II

    Framed 21 x 28

    Transparent Watercolor

    Capturing the mystery of night in a painting has been an objective for me since the 1960s when a student asked “Could we paint a night scene?”

    That started it, and the paintings I have done with this theme have been published in several books and magazines. Emphasis is gained by limiting to one, maybe two, sources of light in the scene.

  • Pasture Gate – Naomi Brotherton


    Pasture Gate

    Framed 23 x 30

    Transparent Watercolor


    While driving across country alone I have enjoyed studying the trees which mark where fence rows have been established by the farmer or rancher.

    Furnished with seeds by the birds and animals, the plants resulting mark the age of the enclosure according to the size of the trees.

  • Suppertime – Naomi Brotherton



    Framed 22 x 29


    Can you hear Maw calling for the “tribe” to come in for dinner?

    This large residence was an interesting silhouette in which I could use the porch light as my small lit area. Darkness of night causing intrigue, one might wish to see this house in daylight. But that would be impossible because I made it up.

  • Evening Looking East – Naomi Brotherton


    Evening Looking East

    Framed 49 x 34


    Exiting our down town Post Office one evening, I saw the glorious colors of the setting sun reflected in the several glass buildings. I immediately set about to express that time of day with one typical building, tall and stately wearing its gleaming apparel.

  • Silence of Night – Naomi Brotherton


    Silence of Night

    Framed 21 x 28


    Realizing that the snow itself seems to give off an aura of light, I didn’t use the usual dark shapes I use in my other night scenes. The snow as it falls seems to help the impression of mystery.

  • Outlook by Naomi Brotherton



    Unframed 21 x 14



    The mystery of this place is “What could they be doing so late at night?” The story would be yours to imagine and tell.

    This painting is matted buy not framed.

  • Pink Cosmos – Naomi Brotherton


    Pink Cosmos

    22 x 27

    Framed Watercolor


    On occasions in New Mexico I painted orange, yellow and white Cosmos which seemed to be rather common there, but these pink to purple ones I found in Wyoming while at a workshop on the grounds of a popular dude ranch.

  • Woven Callas – Naomi Brotherton


    Woven Callas

    24 x 29

    Framed Watercolor

    Calla Lilies are wonderful cone shaped flowers that suggest many possibilities in designing a painting of them. Weaving two paintings together, but keeping the flowers in shape was the challenge in doing this piece.

  • Blue Etude – Naomi Brotherton


    Blue Etude

    Framed 30 x 23

    Ink & Watercolor

    Approaching this corner was a calming experience. A quiet stop to sketch inspires a later painting suggesting the possibility of birds providing a melody in harmony with the mood of the place. The choice of one hue for the painting gives it a harmony of its own with only a bit of color contrast.

  • Around the Bend – Naomi Brotherton


    Around the Bend

    21 x 28

    Framed Watercolor

    The concept of perspective was dawning on me before I learned to draw, as I peered down the tracks while we waited for our connecting train, which was likely to be late. I had plenty of time for observation.

  • Arrival Time – Naomi Brotherton


    Arrival Time

    23 x 30 Framed



    Our train trips seemed always to be at night, and lounging in the waiting room of the station or staring down the track watching for the light of the incoming train helped pass the waiting time. Luggage began to accumulate on the platform where the train would stop to allow boarding.

  • Engine and Engineer – Naomi Brotherton


    Engine and Engineer

    Framed 20 x 27


    In my youth riding trains was the best choice for travel. Going by car on dirt roads, usually muddy, was not great. However, there were many hours spent waiting for trains to arrive, affording many hours to watch the handling of the engines as they maneuvered equipment about the train yards. In this same cab space with the engineer pictured here, there would be a fireman who fed the flames by shoveling coal from the coal car which was part of the engine, essential to produce the steam to propel the engine and the train.