For the student of art history, it was a rare moment. A chance to see the man and his life's work under one roof. In fact, the newest part of that structure was named for Loring's long service as Art Director of the Concord Art Association. I carefully observed how the man and his work had been shaped and refined by time. Loring has been a handsome blue-eyed figure his whole life.

However, this was not the time to carefully study his works --there were too many people obscuring the view. Many of them were talented artists who could rightly feel jealous of this occasion. Others were collectors willing to part briefly with prized works of art. Some of us even represented the next generation.

On a bright afternoon I returned to view the works. Prior to this visit I saw the Loring Coleman video purchased at the opening. (I loved his wife Katinka speaking of her passions!) The video highlighted one of the most interesting paintings "Cathedral." Loring was battling pneumonia when this painting was conceived. An Episcopal bishop in ceremonial vestments (known to have committed suicide) walks a snowy road arched by towering trees to a lovely sunrise or sunset - in religious terms, that could make the difference between grace and something much worse. This seems to be a personal prayer for Loring's own life as "the gate is swinging shut" - his words for his last stages.

"Walker's Barn," a 1955 oil, has a huge T-shaped telephone pole (like a cross on a grave) tilting toward the edge of the painting. The barn is yellow with aqua doors in a warm weather setting. Although it would be forty years before Loring paints "Cathedral," I feel a reverence and philosophy to this subject as well. I note the application of the oil paint. The tiny oil brush strokes foreshadow large painstakingly-painted lines in watercolor. I contrast this little gem of 12" x 16" to the 1997 painting "Walker's Farm" - monumental in size, 33-1/4" x 48." The large barn is bold with contrast in winter. One still sees the aqua touches to the door, the eyes of the painter who has also matured. Loring was a teacher at Concord's Middlesex School before he became a full-time painter. He looked in the mirror one morning as he was shaving and knew he needed to devote all his time to painting. He resigned that same day in the headmaster's office. I thought what a loss to our youth. Yet with this retrospective I know that Loring hasn't given up teaching. His life and his works are lessons for us to read. Let us continue to enjoy these gifts in Loring's own time, and thereafter!