Nightime painting was fun in Manhattan. There was always a lot of light from a storefront to paint with, and the pizzazz of the marquis would dazzle.
My building had a wonderful view W 73rd St and Amsterdam Ave---This was a calming view because it showed a break in the cityscape, through to New Jersey.
A northern view of Manhattan from the Upper West Side.
All the New York paintings were done on locaton. I would have to stop painting in watercolor in Winter because the paints would freeze.
The rooftop series was a summer favorite with a nice breeze coming off the Hudson River.
A scene of the West Side, and a short walking distance from my residential hotel.
On a summer's night there was great joy in painting on location on Broadway--The lights were garrish, the pedestrians often hookers, actors, patrons and lots of cops.
Cherry Hiill in Central Park was a favortie park spot to paint. Often peaceful, no crowds. And one day Greta Garbo came up to me and she discussed how she liked that area to do bird warching.
Shubert Ally was a street scene busy with people and marquis aglow.
After graduating SDSU, I drove cross country with $400 dollars and big dreams. In Manhattan I began working at Womanart Gallery while doing warehouse work. I eventually learned framing and supported myself as a picture framer with the art supplier, Sam Flax.