Kevin Fitzgerald’s blurred, contemplative landscapes have some of the muted density associated with the nineteenth-century Swedenborgian painter George Inness. Exhibitions in August (at the East End Gallery in Provincetown, Massachusetts) and October (at Main Street Gallery in Annapolis, Maryland) showcase recent work by this evocative artist, whose soft focus simplifies forms into horizontal blocks, enlivened by multihued brushstrokes. Fitzgerald sometimes frames his views in ways that place us on the threshold of another realm. In Violet Dawn (2004) masses of shadowy trees seem to part, making way for the tender orchid-colored light filling the sky and illuminating the still waters of a pond. The greenish–black forms of River Trees (2004) are a screen through which we approach the luminous grey-gold river. Fitzgerald describes his encounters with the natural world in terms of epiphanies: “Sometimes the veil is lifted and this Other can be glimpsed, however fleetingly, the viewer is drawn to the possibility of its existence.”