Arroyo Trail Giclee Print by Linda Armstrong at





In the 1990s, my husband and I walked our dog every morning under a group of bridges in the Arroyo Seco, a wooded canyon between Los Angeles and Pasadena. I took photographs, videos, and did a series of paintings based on the area. One group of paintings shows the bridges from a distance. This gives context to the second group of larger works, which seem much more abstract, but are actually studies of patterns of light and shadow on the concrete supports of the bridges.

The bridge in the foreground of this landscape study is a historic landmark. It has 13 graceful arches and two curves. In the background is one of the old bridges across the creek, and beyond that, the 210 freeway bridge. That one is magnificent, too. It swoops across the canyon with four sets of broad arches supporting multiple lanes of traffic. Standing under it is like standing behind a waterfall.Bridge Over the Arroyo Seco, Acrylic on Canvas


Arroyo Trail Giclee Print by Linda Armstrong at


Richard As Clown Giclee Print by Linda Armstrong at




Richard As Clown Giclee Print by Linda Armstrong at

In the nineties, I painted many figurative works. Some of them were done at the Barnsdall Art Center in Hollywood. Others were done in private groups. This was one of my favorite models. He was a retired dancer who had been featured on the cover of Dance Magazine. He was very gifted and had a wonderful flair for costume and set design. I painted his setup at another artist’s studio in a day-long shared model session. There are two paintings in the set. Each is about 30″ x 30″. They were done in acrylic on canvas, and I had a wonderful time!

Stock Photography

I’ve been taking digital photos and submitting them to microstock sites for several years now. I enjoy taking a break from my office to get outdoors and hike with my husband. The pictures help me relive great trips we’ve taken together, so my portfolios feature pictures of western Colorado.

There are also shots of southern California, since my mother still lives there, and Utah, since it is a spectacular springtime destination and is not far from Grand Junction.

Sometimes, people ask me for a compilation of my stock photos online. Here are the main sites where I have portfolios. Shutterstock requires a subscription, but the others do not. If you have special needs, email me and I can set up a lightbox for you. I also have thousands of additional shots, some at higher resolutions, stored on my drives. Let me know what you need, and I’ll take a look.

Here’s the list:
Stock Photography by Linda Armstrong
Bigstock (This was my first site. It contains some older shots the others do not include, as well as the new ones.)
Shutterstock (This is one of my largest portfolios.)
Veer (This is my newest portfolio. This beautiful site is just getting started. Take a look.)
Featurepics (smallest portfolio)


Angels by bluerabbit
See other prints & posters on
Before moving to Colorado, my husband and I lived in northeast Los Angeles between Glendale and Pasadena. On Tuesday nights, I went to draw at the studio of Sam Clayberger, a wonderful artist and teacher.

More than twenty artists attended his drawing sessions. Sam hired a model and each of us staked out a drawing table. For a long time, I drew each pose on a separate sheet of toned Canson Mi Tientes in pastel.

Then, on a trip to the Norton Simon Museum (in Pasadena), I saw a marvelous Picasso charcoal drawing on canvas. Ah hah! I thought. The next time I went to the studio I took an enormous stretched and gessoed canvas. I made it my task to draw all of the poses from the session (2 minute, 5 minute, 10 minute, and 20 minute–several each) on the canvas in charcoal.

The gessoed canvas made the evolving work possible, since the charcoal just sat on top. I could erase out overlaps cleanly and modify the composition with ease. When I got home, I fixed the work. After a month, I had several of these. (My husband called them my "Orgy Series")

When I took them to my dealer, Orlando Gallery, he said they needed something more to hang together and suggested glazes of color. Inspired, I rushed to the Art Store and stocked up on Golden transparent medium and some transparent colors. The glazes were fantastic!

The next time I went to the studio, the artist sitting next to me suggested something brilliant. I don't know whether he was kidding or not, but he asked why I always used canvas. He wondered why I did not draw on some other kind of cloth.

Well, my daughter was designing costumes for a high school production of Othello, and we were spending our weekends in the garment district in downtown Los Angeles. Several shops carried left-over polyester lining fabric. It had a nice texture, it was strong, it was archival enough to last through a nuclear war, and it was very cheap. I bought all I could carry home on the bus, and I was off!

I stretched the fabric on bars and gessoed it. The gesso soaked all the way through, so I learned to put down extra newspapers, but when it dried, I had a terrific surface.

This time, I decided to create further variation. I added filmy clothes and wings to each sktech, making the nudes into angels.

Now, I must admit, I had seen this sort of thing before. When I had a workspace fellowship at the Woodstock School of Art in 1993, I shared the models I hired with other artists, and one of them turned her nudes into angels.

Actually, that is the real point, I think. Angels are everywhere. They are the people we meet every day who share the things we need to hear. Most of the time, we do not recognize them, but they are always there.

If you are reading this, you are one of them…