ABOUT THE ARTIST Post's paintings, pastels and monotypes have been exhibited in museums and galleries throughout the country and reside in many important public and private collections. She has had two solo shows at the Mary Ryan Gallery in New York City, seven one-person shows at the R. Michelson Gallery in Northampton, MA. Other solo shows include the Wisteriahurst Museum, University of Massachusetts and Mary Washington College. Her work has been exhibited in many prestigious group shows and juried exhibitions in New England, New York and the Southeast. She has been featured in extensive photo essays in Poets & Artists, American Art Collector and American Artist magazines. Her painting "The Raven's Gift" as the cover, and a six-page interview with photos, appeared in the Artful Mind Magazine . Her painting, "Solstice", on the cover of The Gettysburg Review received the Ozzie Award for Design Excellence; the Review also selected Post's work for an eight-page color portfolio inside the same issue. Color reproductions of her work have graced the cover of Cornell University's Epoch literary magazine, and were selected for the cover and the content of five Return of the Goddess Engagement Calendars and the hardcover book, Return of the Great Goddess . Reviews and images of her work have appeared in the Boston Globe , the New York Times , Preview Magazine and other national and regional publications. A 24-page color catalogue was published in conjunction with her solo show, Balancing Acts , at the R. Michelson Gallery. Linda H. Post is a graduate of the University of Rochester and did post-graduate work in printmaking at the Rochester Institute of Technology. She has taught numerous workshops in figure drawing, pastel and printmaking. When she isn't in her studio, she works as Founding Director of the Paradise City Arts Festivals. COLLECTIONS RESUME BIBLIOGRAPHY To play, press and hold the enter key. To stop, release the enter key.

PORTFOLIOS Girls of mystery, women of power. The lure of the sea. Skies and bodies on the cusp of change. Magical places. Follow me into my studio, my work, my thoughts and dreams. ​ Paintings range from $1,800 to $65,000 Pastels start at $1,200 Monotypes range from $500 to $1,350 Some signed, numbere d, archival prints are available . Please email for more information. PAINTINGS: GALLERY 1 PAINTINGS: GALLERY 2 PAINTINGS: GALLERY 3 PASTEL PAINTINGS MONOTYPES NEW PAINTINGS

PAINTINGS The women and girls in my paintings live in the seascapes of my childhood, colored by my memories. Almost all of the paintings on this page feature companion birds. Much of the recent work depicts figures that are life-sized or larger. The viewpoint is often just outside the picture plane – one more step and you are inside. Read about the creative process of much of my work in my online journal . Many of these paintings can be purchased as signed, limited edition fine art prints . Linda H. Post Stretching "The Willing Suspension of Disbelief" I have included birds in my work for a long time. They can act as a major character in the narrative, like this talking seagull. The conjunction of women and birds evokes an especially vivid dream. Birds are sometimes companions, other times avatars of change, growth, or escape. "Speaking the Language of Birds" is 75" x 48", oil on linen. The woman in the foreground exudes both serenity and power. At 72" high by 84" wide, the scale of "Sirens" is larger than life, giving the sense that one could walk right into the world depicted in this painting. The vivid red began as the underpainting to a blue sky, but the cadmium set off the figures so brilliantly that the red became permanent. The two adolescent girls in “Birdwatchers of Chappaquiddick” are very present and watchful, in every sense of the word. The salt grasses and sand dunes leading to the sea hold mystery and adventure beyond their stone wall. One bird is safely cradled while the other, flying from the open sea beyond, alights on the wall. 76" x 31", oil on linen. The Willing Suspension of Disbelief Speaking The Language of Birds Sirens Birdwatchers of Chappaquiddick The Raven's Gift Tempest The young woman on the right, leaning against the fence, is the anchor in reality for this piece. I think of the girl in the tutu cradling a seagull as an apparition, along with the glowing tents. After I stretched this painting, I re-imagined and repainted all of the tents. To see its progress, read my blog posts, starting here. 72" x 53", oil on linen. The raven in this painting is a bearer of gifts. In mythology, the raven signifies magic, prophecy and good luck - and is often the bearer of messages from the gods to the mortal world. The volume and expression of the figure's hands and arms were integral to this painting. The contrast between the warmth of her flesh and the deep, cool background color created a wonderfully three-dimensional composition. Oil on canvas, 30" x 40". The young girl stands her ground, gazing up at the menacing yellow sky, the black clouds, the swirling twisters. The striped tents have come untethered and are caught up in the maelstrom. Is it a dream? "Tempest" is an oil on panel, 36" x 24". MORE PAINTINGS

SELECTED PUBLIC COLLECTIONS: Jacob's Pillow Dance Theater Mead Art Museum, Amherst College Reader's Digest Skadden, Arps, Slate, Meagher, Flom Salomon Brothers Oppenheimer and Company Equitable Life Assurance Company Collection of the City of Northampton, Massachusetts Hands of the Goddess Press Immerman, Daniel and Fontaine John Drury Assoc., London Snow Farm New England Arts Program Boston Public Library BACK TO BIO "Air", from The Elements . Pastel, 42" x 50". Collection, Hands of the Goddess Press

MORE PAINTINGS detail from "Balancing Act" In this gallery of work, look for the tents. The striped, peaked tents evoke an especially vivid dream, but do actually exist on Chappaquiddick Island, Martha’s Vineyard. Like most of my work, these paintings occupy a cerebral, mythic landscape, full of reality and dreams. The introspective girls and women in my paintings make us ask, “What are they thinking?” Their placement in such lush, enigmatic settings questions, “Why are we here?” Many of these paintings can be purchased as signed, limited edition fine art prints . Linda H. Post Golden Days Fever Dream Blue Summers and Fleeting Castles Balancing Act Secrets of the Tides Summer Redundant, Blueness Abundant Twilight Revelation Beach and Disco The largest of this series painted on wooden panels, "Golden Days" is 60”W x 42”H. It also offers the first glimpse of the interior of one of the striped tents. The dark figure inside the tent is an older alter-ego of the girl in the foreground. An oil painting on linen canvas (87" x 56"), "Fever Dream" is the first of the tent series that truly brings the figures inside to explore one of the structures - in this case, an elaborately draped and richly decorated Bedouin tent. A mysterious scene unfolds under clear blue skies. Two young girls stand in a meadow as the first stars come out, trees and tents silhouetted against the teal sky. One tells a story; the other looks away, but you know she is listening. "Twilight Revelation" is an intimate oil on wood panel,14" x 11". SOLD This young girl posed for my paintings from age 10 to 15. Here she is in full adolescence, her thoughts in a secret place. The intensely blue sky shows the remnants of a faded rainbow. In the distance, children play ring-a-rosy and striped tents catch the warm light. "Summer Redundant" is an oil on wood, 24"W x 36"H . The light turquoise of the hand-forged tete-a-tete bench, the book cover and the sky give this painting its luminosity. The model's platinum hair, stripes and extensive tattoos lend a "disco" accent to the salt marsh setting. "Beach and Disco" (which is also the title of her book) is an oil on linen, 40" x 52". One of the few paintings in this series that positions two figures in companionable juxtaposition, these dramatically lit adolescent girls gaze downward as they walk away from the tents. "Secrets of the Tides" is 24"W x 36"H. The title painting of a solo show, "Balancing Act" is 49" x 42", oil on a wooden panel. This piece was transformed considerably from the original composition during it's painting; it once included additional figures and a different landscape. One of the first paintings that featured the striped tents of Chappaquiddick, "Blue Summers and Fleeting Castles" is 49"x42", oil on wood panel. The adolescent girls and young boys stand in sharp contrast to the foggy, atmospheric setting. What is the hidden object at their feet? MORE PAINTINGS

MONOTYPES I have been making monotypes since 1979. My monotypes are essentially printed paintings, each one a one-of-a-kind piece. I use a very time-consuming method of working in layers on zinc plates with oil pastels, oil paints, lithographic crayons and hand-cut stencils, often using the ghost image left on a plate or a paint-laden stencil to launch a series. The painted plate is then heated and printed on Arches Cover or Rives BFK on an etching press. I have led numerous workshops and lectured at colleges and art centers on this remarkable medium. My most recent series echoes (and often predates) much of the imagery in my oil paintings. Linda H. Post Monotype Pricing: 9" x 12": $500 18" x 24": $1,000 24" x 28": $1350 detail, "Leap" , monotype. SOLD Life Upside Down Monotype, 24" x 18" image size. The second of two prints pulled from the original drawing on a zinc plate. High Dives, Emerald Sea Monotype, 24" x 18" image size. The first of two prints pulled from the original drawing on a zinc plate. Arrivals and Departures 2 Monotype, 18" x 24". I created two versions of this image as monotypes. There is also an oil painting, which is in a private collection. Shallow Waters 1 Monotype, 24" x 18" image size. The first of two prints pulled from the original drawing on a zinc plate. SOLD Shallow Waters 2 Monotype, 24" x 18" image size. The second of two prints pulled from the original drawing on a zinc plate. SOLD Night On The Lake 2 Monotype, 24" x 18" image size. The second of two prints pulled from the original drawing on a zinc plate. Release 1 Monotype, 24" x 18" image size. The first of two prints pulled from the original drawing on a zinc plate. Bird in Hand Monotype, 24" x 18" image size. This singular print was pulled from the original drawing on a zinc plate. SOLD Lake Effects 2 Monotype, 24" x 18" image size. The second of two prints pulled from the original drawing on a zinc plate. The two monotypes in this set work well as a diptych. Lake Effects 1 Monotype, 24" x 18" image size. The first of two prints pulled from the original drawing on a zinc plate. The two monotypes from this set work well as a diptych. Hillside Revel 1 Monotype, 24" x 28" image size. The first of two prints pulled from the original drawing on a zinc plate. Dreaming of Martha Graham Monotype, 18" x 24". A good example of using the ghost image from this print to create something completely different in "Triplets". Triplets 3 Monotype, 18" x 24". This was the second version of "Dreaming of Martha Graham", and very different from the first. The Acrobat's Move Monotype, 24" x 18" image size. The second of two prints pulled from the original drawing on a zinc plate. Vineyard Fog Monotype, 8" x 10" image size. The third of three prints pulled from the original drawing on a zinc plate. SOLD Pool 1 Monotype, 24" x 18" printed on Rives BFK. Sheila Reading and Smoking Monotype, 18" x 24". This piece and "Pool 1" are examples of some of my earlier monotypes, often using friends as models. SOLD BACK TO PORTFOLIO

NEW PAINTINGS "The Procession of Hope and Feathers" spent two months hanging on the mezzanine of R. Michelson Galleries in Northampton, MA - and two years from concept to execution. The title of this painting was inspired by a poem by Emily Dickinson, who spent her life in Amherst, Massachusetts - just a few miles from where I live. The enormous stretcher - 132" x 68" - was built by Twin Brooks in Maine. “Hope” is the thing with feathers - That perches in the soul - And sings the tune without the words - And never stops - at all - - Emily Dickinson FOLLOW MY JOURNAL Post with Procession in the gallery Four figures and four birds unscroll across an eleven-foot expanse of blue sky and green meadow. Two striped tents anchor the left edge, while a figure with a winged helmet perches on the railing of an elaborate gazebo. The Procession of Hope and Feathers , oil on linen, 131" x 68". Price on request. ​ A preliminary painting of one of the figures in the mural-sized piece, this masked girl precedes the masked world that followed. Hope and Feathers , oil on cradled wood panel, 12" x 12". $2,300 There is a meditative quality to this painting. The warmth of the sunlight, the soaring birds, the billowy clouds, the dancer's pose. This one features the girl in the red tutu from The Procession of Hope and Feathers , prehistoric-looking pelicans and Monkey Island in Guanacaste, oddly shaped like the head of a gorilla or monkey. 16" x 16", oil on wood panel. Winner of the Visitors Choice Award at the New Britain Museum of American Art. $4,000. More... Costa Rica is a spectacular country, full of natural wonders. The setting is the Pacific Ocean, where mounded islets covered in hairy, gnarly trees are dotted along the coastline. The wood storks of Costa Rica are ominous in appearance but lovely and graceful in flight. Across the Sea of Time is 16" x 16", oil on wood. $4,000. Guanacaste is the title of this painting, an area of Costa Rica that contains coastlines, waterfalls, volcanic pools, and those small islands that captivated my imagination. The ring-necked magpies came to visit every day, landing next to us to talk and ask for food. They are quite large birds, and very striking in appearance. This is a 16" square oil painting on a cradled wood panel. $4,000. I watched a little girl in a sundress race across an expanse of lawn by the sea, and I knew I had to paint her. The inclusion of the striped, peaked tents is a continuation of the theme of a long series of paintings. The title of Life is a Carnival is from a song by The Band. SOLD ​ Soliloquy is the fifth in my series of 16" square oil paintings. The setting is still Guanacaste, Costa Rica, loosely based on a photo I took while sailing into the sunset. The exotic birds are flamingos. (How often do you see a flamingo fly? Usually they seem to spend their time wading.) The harlequin costume is almost as flamboyant as the sunset and the flamingos. $4,000. The Procession of Hope and Feathers Hope and Feathers Across The Sea Of Time Guanacaste Life is a Carnival Soliloquy Fledgling Dance of the Pelicans The last of this series of 16" square oil paintings is Fledgling , featuring Painted Storks. Storks are avatars of good fortune and abundance in mythology and culture. Although a bit clumsy on land, these huge birds glide in flight, soaring effortlessly through the air. It is twilight in Costa Rica, the sky is turning a deep teal, and just a few stars have emerged. $4,000. ​ Sky Blue Pink "The painting arrived yesterday afternoon. I carefully opened it and was delighted. We have been rearranging artwork on our walls, trying to decide where to place it. It brings me joy whenever I look at it, and for that I am grateful." Oil on wood panel. 24" x 24". SOLD Swan Song of the Pink Moon Swan Song of the Pink Moon is the first painting in a new series. Everything is in movement. The dots and stripes of her costume flow as the woman falls in step with the swan. The bird's mate soars overhead, silhouetted against the pink moon. Far away, more birds fill the sky. The pink moon represents optimism for the future, rebirth, and a deep internal focus on every level. 24" x 24", oil on wood panel. $8,500. MORE PAINTINGS CONTACT ME

PAINTINGS OF WOMEN, THE SEA, MYSTERIOUS ENCOUNTERS AND UNCOMMON PLACES To play, press and hold the enter key. To stop, release the enter key. FOLLOW MY JOURNAL

MORE PAINTINGS detail, "Fire on the Beach", 14" x 11" Most of the settings of my paintings are places of reflection and contemplation. I have always felt the ocean to be a magical place. I am stirred by the sea’s endless sky, the perfect light, the gentle dunes, and the ancient stone pathways and walls that crisscross New England coastlines. Linda H. Post A Gathering Storm Listen to the Sea Deceptive Waters Chappaquiddick In the Cool Blue of the Day Perfect Light This very horizontal wood panel was given to me by a fellow artist, and I puzzled over my composition for quite a while. "Listen to the Sea" is 24" x 12", a paean to the end of a long summer's day by the ocean. SOLD This girl walks alone, slipping on a tee shirt as the day cools down. This painting is a cross between my printmaking and painting styles, looser and more spontaneous. "In the Cool Blue of the Day" is 11" x 14", oil on wood panel. SOLD "Deceptive Waters" is 30" x 24", oil on panel. The glowing, tranquil seascape is a composite of Bass River and Mayflower Beach on Cape Cod, lit by the setting sun. This was the first painting that featured the striped tents of Chappaquiddick, hence its title. An eerie light casts the long shadows of late afternoon. A storm is brewing on the horizon. "Chappaquiddick" is oil on wood panel, 30" x 24". This lighthouse at the end of the long stone jetty actually exists in Rockland, Maine. The body language of both figures in "A Gathering Storm" expresses the attitudes of adolescence. The painting is a 24" x 30" oil on panel. A family on a summer's day at the edge of the sea is caught in an iconic snapshot moment. "Perfect Light" is a small oil on wood, 11" x 14". BACK TO NEW PAINTINGS PASTELS MONOTYPES

I make paintings of powerful women, the sea, mysterious encounters, and uncommon places. These works occupy a mythic place in our consciousness, and question what we know about the world. Most of the settings of my paintings are imaginary places of reflection and contemplation. I chronicle all my travels in photographs. I combine landscapes, seascapes, people, architecture, creatures, and all sorts of odd details that have never existed together in reality. I love painting patterns, and skies on the cusp of change. Especially in my larger work, my viewpoint is often just outside the picture plane – one more step and you feel as if you can enter the narrative of the painting. ​ Birds, especially seabirds, have long been choreographed into my work, sometimes as companions, other times as avatars of change, growth, or escape. The conjunction of women and birds placed in enigmatic landscapes evokes an especially vivid dream. by Editor Brian Goslow in Artscope Magazine , July/August 2023 ​ "My favorite work in the exhibition was Linda Post’s “The Willing Suspension of Disbelief”, a large 72” x 53” oil on linen canvas painting truly enhanced by its huge size that fully allows one to see features that wouldn’t have been apparent looking at a digital image. Not only do you feel the intense presence of two women leaning against an aging fence - one holding a seagull while a second gull, it’s open beak seemingly smiling as its red eye looks out at the viewer - but four tents, the event they’ve been raised for unapparent. Post said that the "surreal, shape-shifting tents" are one of the dreamlike places that occur often in her work... In the back of the painting a couple sits around a campfire, their attention alternating between each other and the rising moon. "When I began this painting, it was a sunset. By the end it was a moonrise," says Post. "Things change." The Danforth's annual juried show will always leave me with several artists whose work I will be following for years to come." DANFORTH ART MUSEUM JURIED EXHIBITION REVIEW View the exhibit "The Willing Suspension of Disbelief" with narration by artist Linda H. Post at R. Michelson Galleries On February 22, the Intuitive Machines’ Odysseus spacecraft successfully landed on the moon’s southern hemisphere. On board the Odysseus is the Lunar Codex, a time capsule that contains the work of contemporary artists, writers, and musicians. My work is among them. READ MORE Paintings range from $1,800 to $60,000 Pastels start at $1,200 Monotypes from $500 to $1,350 COLLECTIONS RESUME BIBLIOGRAPHY To play, press and hold the enter key. To stop, release the enter key.