Figure the Future

Figure the Future
By Michael Newberry
Presented by The Atlas Society, 2008

Michael Newberry reflects on how the nude supports the best within us and shows that it has been present at the conception and implementation: of democracy; of systematic philosophy; and of art history.

0:17 Introduction by Robert Bidinotto

2:33 The Nude as the Personification of the Individual
The Status of Clothed Figures
Ramasus, Queen Elizabeth 1, Ingres, Millet, Whistler, Wyeth, Pearlstein, and Richter.

15:12 Individuality Expressed Through the Nude
Courbet, Durer, Bellini, Boucher, Manet, and Renoir.

23:26 The Best Within
First Artists to Sign Works
Polyclitus, Praxiteles, Humans as godlike.

27:39 Nude as Inspiration
Michelangelo, Galileo, Joseph Dauben, Capuletti.

30:05 The Nude Adjacent to Moving Humanity Forward: Interesting Cultural Developments — Bridging Ancient Greece to the Renaissance – Orbit of Individuals
Solon, Democracy, Aristophanes, Botticelli, Translation of Aristotle, Vasari (First Art Historian), Madame de Pompadour, Diderot, Manet’s Olympia, Hugo, Bizet, Copley, American Revolution, Mercy Otis Warren, Rossetti, Eakins, Walt Whitman, Emerson.

42:53 An Aside: Turning Leaves of Grass to Trash to Postmodern Art

44:18 Nazis and the Heroic Nude

45:43 Cultural Conflict — Sabotaging the State
The Last Judgment, Heroic Nudes Create Conflict with Christian, Jewish, and Muslim Religions.

47:50 Where We Are Today
Lucian Freud, Schipperheyn, Collins, and Feldman.

51:19 Q & A
Roman Copies, Nudes Convey Individuality of Traits, Erotic Elements, Postmodernists are Grumpy People, Heroic Nude Helped to Defeat the Nazis? Humanism vs Christianity reflected in Renaissance Art, Courageous Figurative Artists, Nudes as Dangerous to Status Quo Cultures, Obscenity, Michelangelo’s Popular Appeal, Propaganda, and Appropriation of Great Art.

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. In the Fall of 2017, he has a solo show at the White Cloud Gallery in Washington D.C. Follow him on Instagram at @artnewberry.

Innovation in Art by Michael Newberry

On October 6th, 2003 The Foundation for the Advancement of Art presented this conference at New York’s Pierre Hotel. Stephen Hicks gives the introduction to the conference and to Michael Newberry’s talk, Innovation in Art. Part 1

0:09 Stephen Hicks Introduction
3:03 Michael Newberry Innovations in Art
4:11 Zuburan, Mondrian, John Moore
6:05 Color and Light Theory, Vermeer, Monet, Rothko, Rutkowski
7:59 Illustration of Ideas, Bosch, Magritte, Larsen
10:48 Rembrandt, Van Gogh, Newberry
12:54 Form, Henry Moore, David Smith, Martine Vaugel
14:17 Sublime, Egyptian, Michelangelo, Stuart Mark Feldman

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. In the Fall of 2017, he has a solo show at the White Cloud Gallery in Washington D.C. Follow him on Instagram at @artnewberry.

Drawing the Line between Pornography and Art

Porn and art generate two classic human responses: “Art is in the eye of the beholder” and “I know porn when I see it.”

Sometimes these responses overlap such as in reaction to erotic Egyptian drawings, Ancient Greek wine vases, 19th century etchings and literature, and in 20th century erotic photos, movies, and adult cartoons. In these cases, we observe art with erotic touches or eroticism with artistic touches. What is the difference between them? And can we find the spot that divides them?

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Erotic and Satirical Papyrus. Papyrus, Der el-Medina, New Kingdom,
Dynasty XX (1186 – 1070 BCE). Turin Museum

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Erotic scene on the rim of an Attic red-figure kylix, c. 510 BC.

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Alfred Beardsley

Novelist and philosopher Ayn Rand is passionately adamant about where her boundaries are: “I want to state, for the record, my own view of what is called “’hard-core’” pornography. I regard it as unspeakably disgusting. I have not read any of the books or seen any of the current movies belonging to that category, and I do not intend ever to read or see them.”

John Stagliano, a porn producer and an Objectivist, said,: “My argument that pornography is art hinges on the value I put on sexual arousal. I submit that is as valid an emotional response as fear, hate, joy, or any other emotion. Those that don’t think pornography is art perhaps don’t value the sexual response and therefore dismiss porn as art. Still, if their response to it was immediate revulsion than that in itself proves that it is art.”

Rand saw explicit sex in movies and writing as porn. Stagliano implies that if it conveys emotion, it is art.These perspectives raise some questions: Is there a difference between sex in a book and a movie? What about non-art situations that raise heated emotions such as football games, and traffic jams?

In ancient Greek theater sex and murder took place off stage behind the skene, yet, in Greek comedies, male characters paraded exaggerated fake genitalia. Contemporary films portray murder, medical operations, and romance but none of these things happens for real; they are make-believe.

I casually discussed the question of art versus porn with two contemporary philosophers, David Kelley, Founder and Chief Intellectual Officer of TAS, and Stephen Hicks,  philosopher at Rockford University. Kelley commented, “Art and pornography raise thorny questions of definition — and even thornier questions of application, a real briar patch.”

Hicks added: “Art and porn are often put in different categories. But my view is that porn can be art — though in the range of kitsch, slapstick, or doggerel. That is, it’s of a kind with portrayals that take important human values but present them in crude, reductionist, or only semi-authentic ways. The issue is not ‘that’ sex is presented but ‘how’ it is.”

Georgina Leahy, singer, performer, model, and social media diva, who recently posed for two of my paintings in the Lovers Series, Arabesque, told me: “I never thought about it, art is art, porn is porn. I would never do porn, but I am always pushing the boundaries as an art muse.”

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Newberry, Arabesque – Heterosexual Couple with Georgie Leahy and Jase Grimm, oil on linen, 48 x 72 inches

So where is the boundary? The re-creation of sex in art requires the viewer to consciously or subjectively decide whether it is in good or bad taste, which also holds true for how we judge art in general. Giving us a clue, Rand defines art as a re-creation of reality, not as a literal transcription of it. It seems to me that the documentation of sex with real people through photos, movies, and on stage is the edge of the issue. Where would you draw the line?

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. Follow him on Instagram at @artnewberry.

Originally published with The Atlas Society.

Support Art, Cut NEA

On January 19th of this year, The Hill reported that the incoming administration was proposing that “the National Endowment for the Arts and National Endowment for the Humanities would be eliminated entirely.”

The public backlash has contributed to the hysterical opposition greeting the new administration. The NEA states it is an “independent federal agency whose funding and support give Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities.” How can anyone discontinue that?

Conventional wisdom holds that supporting art is the right thing to do. This artist dares to disagree.

In the 70’s I had the great fortune to study art in Holland. It was a “soft” socialist country whose various social welfare programs included one that gave stipends to artists.  At 20, I was curious about how it worked.

Claudette was a close friend and also a student at the Free Academy Psychopolis in The Hague, Holland, and was receiving a stipend that covered her rent and expenses each month. She was carefree, passionate, had lots of talent, and loved to paint figures. But the stipend wasn’t free; each month she needed to come up with five paintings, within certain dimensions, then schlep them to a government office, to be judged by a panel. From there the artworks were accepted and held indefinitely in storage.

She soon figured out that they would accept almost anything. The day before the meeting she would quickly paint five abstract paintings, all signed, and get her check. She then planned to make personal art for the rest of the month. But a funny thing happened. She didn’t feel motivated and her passion for painting diminished. Her story was not unique; I heard the same thing from several people at the Academy.

At this time I was working summers to pay for my art education, and I had painted a large still life, and I still remember how proud I was signing it. It was hanging in the academy’s hallway where a man saw it, loved it, and tracked me down to purchase it. His desire to own that painting was palpable, and getting a good price for it was a profound experience for me, one that inspired me to keep going as an artist.

Fast forward to today. The NEA is funding such absurd projects as the $40,000 Laundromat Project: “To support artists’ residencies and arts education programming at

neighborhood laundromats. Artists will develop and mount site-specific, socially relevant art projects in local coin-op laundries to engage neighbors and patrons in the creative process.”

Government funding of the arts does bring up a lot of questions. What does it do to an artist’s soul to make art for bureaucrats? And what does it do to art? A private patron needs no justification to buy art, but what standards does a government use for their support? If the agenda of the government is to nurture artists, does this approach work?

Ayn Rand doesn’t think the government should be involved in the humanities or with anything as personal as art: “Nothing is less secure than a position of dependence on the arbitrary power of politicians dispensing favors….” She pointed to “the fear, the intrigues, the rigid censorship, and the abject bootlicking in which and with which the recipients of governmental favors have to live moment by precarious moment.”

The NEA has tremendous leverage to direct the arts, and the good news is that art will always be with us, it is part of our DNA. But wouldn’t a better alternative to the NEA be for us to take this role as individuals and seek out, support, and enjoy the art we love?

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. Follow him on Instagram at @artnewberry.

Originally published with The Atlas Society.

Art and Judgment

Over three decades ago, in 1982, I booked a private telephone consultation with an Objectivist philosopher (associated now with the Ayn Rand Institute) on reading The Romantic Manifesto, Ayn Rand’s classic non-fiction work on aesthetics.

At 24, I was both an artist and an Objectivist.  A fine art major; I had taken several art history classes including contemporary art theory. At the time, I had just completed the painting Promethia, and even though it was a thematic work, I didn’t understand how one objectively identifies a theme of an artwork. With that in mind, I was excited to be mentored by an Objectivist philosopher.

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In our consultation, he pointed to Willem Kalf’s still life painting in the classic art history book, Gardner’s Art Through the Ages.

“How do I discover the theme?” I asked, genuinely.

“The theme of this painting is malevolent because of the dark background!” was the swift and vociferous response.

This was “obvious” — i.e. self-evident — he said.  No further reasoning or discussion was necessary.

I ended the session and never consulted him again.

Alas, I had yet to learn how themes work in painting. So I returned to what Ayn Rand herself had written.

In the Romantic Manifesto she writes:

“Now a word of warning about the criteria of esthetic judgment. A sense of life is          the source of art, but it is not the sole qualification of an artist or of an esthetician,             and it is not a criterion of esthetic judgment. Emotions are not tools of cognition … In essence, an objective evaluation   requires that one identify the artist’s theme, the abstract meaning of his work (exclusively by identifying the evidence contained in the work and allowing no other, outside considerations), then evaluate the means by which he conveys it—i.e., taking his theme as criterion, evaluate the purely esthetic elements of the work, the technical mastery (or lack of it) with which he projects (or fails to project) his view of life.”

—Ayn Rand, Romantic Manifesto, Chapter 3: Art and Sense of Life

To discover the theme of a painting, you have to observe almost everything about it, catalog it, and find the common denominator among those things that unites them. Then when you know what the painting is about you have to persuade the viewers and yourself that indeed that is the theme of the painting. Also, it takes the observer some knowledge in art technique to note the successful execution of the theme.

In Kalf’s painting, we have exquisitely painted glasses with beautifully crafted metal stems. Ornate silverware. A luxurious table carpet, which is typical in Holland, even in today’s pubs. And a small pumpkin and a beautifully cut lemon. The background is dark which offsets the light on the pumpkin and the lemon, emphasizing their lightness and color.

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Notice the ellipse on the top of the glass: It is delicate and superbly done! Notice the form of the carpet and how it pivots towards us giving us a sense of spatial contrast between the foreground and background. We can tell from the light and the shadows that the light source is coming from behind and above our left shoulder. Notice the shadows and the bright illumination of the lemon.

The subject of the painting is some of the finer things in life: good drink, fine craftsmanship, and fresh produce. The tantalizing lemon and the silverware suggest that there might be fish roasting. The means of conveying the subject are spot on in perspective, precision, clarity, and a very dramatic use of light and dark. Imagine a banker, merchant, or a professor (has to be a person of some means to afford the finery): After working a day of solving problems elegantly they come home and are met by the rewards for their efforts. I would say the theme of this painting is “rewards,” and I would title it as such.

While I was painting Promethia, the work above, prior to my consultation with the Objectivist philosopher, I was certain about the feeling and the vision driving it. Putting it into words the famous quote by Nietzsche serves best: “The noble soul has reverence for itself.”  Conveyed through my ideal pairing of figurative sculpture, modern architecture, and nature.

Themes in painting are not absolutes and they have to be tried on and confirmed by what the paintings show us. There is no room for knee-jerk dogmatic judgments; understanding comes one step at a time through each individual’s lens.

Michael Newberry

Originally published with The Atlas Society

Energizing the Eye: Abiodun Olaku

“In the broad valley, far below him, in the first sunlight of early morning, he saw a town. Only it was not a town. Towns did not look like that. He had to suspend the possible for a while longer, to seek no questions or explanations, only to look.”

The above was Ayn Rand’s description of Howard Roark’s Monadnock Valley development in The Fountainhead. Rand is revered — and reviled — as a philosopher and novelist, but to me she was also an artist. She defined art as a recreation of reality according to an artist’s values, and in her work, she recreated an inspirational world of heroes, light, and flourishing.

labour

That is why The Atlas Society chose art as an arena for intellectual and spiritual engagement with Ayn Rand’s ideas.  The 25-year-old philosophical organization capped 2016 with winners of first annual Atlas Art Contest. Over 400 entries were narrowed down to 21 artists by a panel of four judges: Sabin Howard, sculptor; Judd Weiss, photographer; Agnieszka Pilat, painter: and myself. The public was then invited to vote, further spreading the engagement with the outstanding work of our finalists.

The winners were, from first to third place, Abiodun Olaku, Eric Armusik, and Danielle Dalechek. Given Ayn Rand’s aesthetics, it is rather fitting that Olaku won first prize with his clean style, perspective, and nuanced light. Olaku is a Christian Nigerian, and he paints townscapes lit by twilight’s glow and dotted with the sparkle of electric lights and roasting fires — honoring both nature’s magnificence and humanity’s place in it. His winning work, Silhouettes of Labour, fit nicely the contest’s theme of entrepreneurial pursuits., fit nicely the contest’s theme of entrepreneurial pursuits.

Abiodun-Olaku

Before the Atlas Art Contest Olaku was unfamiliar with Ayn Rand, but during the contest; the did some research on her and concluded: “I could sum up her thoughts as the recognition and glorification of human endeavor, enterprise, and due reward.”

Like most artists, financial obstacles are the biggest roadblock to painting full-time. Olaku feels that his drive to perfect his unique style, which consequently brought him collectors, and his belief in God helped him practically and emotionally.

“An obstacle I overcame was the challenge of earning my livelihood, solely, on the income generated from my art. Eventually, though, I mastered the art of staying steady and balanced on the raging and wildly-bucking bull of survival. I discovered early that my art was my bargaining power. So, I pursued a uniqueness of it.”

Like many Ayn Rand fans, Olaku balances his reason with spiritual beliefs: The infinite grace of God had always been my Divine Intercessor at crucial junctures and critical times in my earthly sojourn. This emboldened me in no small measure career-wise, and also propelled me forward with renewed courage, instead of hesitation, apprehension or debilitating fear.”

Though Romanticism, notable for its dramatically driven themes of human character, is important in Rand’s thought, she has high regard for the importance of light in painting.

Indeed, it was for this reason she considered Johannes Vermeer “the greatest of all artists.”  She wrote: “Vermeer devoted his paintings to a single theme: light itself.

The guiding principle of his compositions is: the contextual nature of our perception of light (and of color). The physical objects in a Vermeer canvas are chosen and placed in such a way that their combined interrelationships feature, lead to and make possible the painting’s brightest patches of light, sometimes blindingly bright, in a manner which no one has been able to render before or since.”

This description works equally well for Olaku. Each patch of light is slightly different in tone and hue, creating a hierarchy of lights. Vision scientists Jan Koenderink and Andrea Van Doorn told me one night in a Scottish pub in Glasgow that the eye constantly compares and contrasts tones, bouncing from spot to spot. If tones and hues are identical then the eye becomes bored. Conversely, if there are subtle differences then the eye feels energized.

Olaku,24-7

Olaku’s sensitivity to light manifests in how deeply his landscapes recede — not only are the lights themselves different, they are placed in depth. Though light is the outstanding feature in Olaku’s paintings, he is also a master of perspective and the reflective nature of water.

What Ayn Rand says about Vermeer is very much how I feel about Olaku: “What his style projects is a concretized image of an immense, nonvisual abstraction: the psycho-epistemology of a rational mind. It projects clarity, discipline, confidence, purpose, power — a universe open to man.”

Originally published with The Atlas Society.

You can follow Abiodun Olaku on Facebook, he welcomes queries about his art.

For over four decades Michael Newberry has been pioneering figurative art with his unpredictable brand of beauty. www.michaelnewberry.com

“24/7, Lagos”, oil on canvas, 36 x 48 inches, 2016

“Silhouettes of Labour”, oil on canvas, 36 x 48 inches

Innovation, Substance, Vision – The Future of Art Conference in Art in NY, 2003

On October 6th, 2003, The Foundation for the Advancement of Art presented Innovation, Substance, Vision–The Future of Art at The Pierre Hotel in New York City. With a panel of philosophers, artists, and scientists, the conference addressed the importance and future of art.

The international audience included major figures from the worlds of art and commerce including Stephen Farthing from the New York Academy of Art, Jennifer Thompson from MASS MoCA, and Lee Minaidis from the Organization of the World Heritage Cities.

Also in the audience were Louis Torres, co-author of What Art Is,  Marsha Enright, founder of the College of the United States, and Lindsay Perigo, the founding member of New Zealand’s Libertarianz party.
List of Lectures and Speakers:

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Michael Newberry addresses the international audience at New York’s Pierre Hotel.

Innovation in Art by Michael Newberry, artist and Director of the Foundation.

Michael Newberry: Director of the Foundation, a leading critic and an artist who expresses the human ideal through unique light and color schemes.

“Innovation is the key to positive change. Innovation is the bridge between an artists’ knowledge of earlier discoveries and the zenith of their imaginations.”

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Stephen Hicks     From Modern to Postmodern Art by Dr. Stephen Hicks, philosopher.

Dr. Stephen Hicks: Leading philosopher with wide-ranging insights from Postmodernism and Intellectual History. Dr. Hicks outlined the spiraling descent of postmodern art and argued that we must “look at the world afresh.”

“By the turn of the twentieth century, the nineteenth-century intellectual world’s sense of disquiet had become a full-blown anxiety. The artists responded, exploring in their works the implications of a world in which reason, order, certainty, dignity, beauty, and optimism seemed to have disappeared.”

“The world of postmodern art is a run-down hall of mirrors reflecting tiredly some innovations introduced a century ago. It is time to move on.”

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Jan Koenderink     Science and Art in the 21st Century by Dr. Jan Koenderink, vision scientist.

Dr. Jan Koenderink: One of the most influential scholars working in the field of human vision. Dr. Koenderink voiced his challenge to the future for integrating art and science and the importance of examining human perception:

“Since World War I science and art, indeed society as a whole, have gone through dramatic metamorphoses, leading to a loosening of bonds with the past and a loss of identity.”

“Popular science “purports to deal with cosmology, the subatomic realm, quantum theory, brain scanning… [these] topics are so remote as to be effectively irrelevant to any phenomena of daily life. A sane person would conclude that the sciences have nothing to say on what is important in a person’s life. If the art of our times reflects [this]…then it should be fully remote from your daily life’s visions. A blank canvas, a random pattern, or a nonsensical representation, would be totally appropriate…Such a perspective is manifestly wrong.”

“In contrast to the above there are the novel sciences which take a “holistic and non-nominalistic approach”, and “focus[es] on the phenomena at the human level. One consequence of this is a renewed interest in visualization and in artistic production, primarily towards representational art.”

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Martine Vaugel     Survivor, Worshiper, Fool by Martine Vaugel, sculptor.

Martine Vaugel: “Passionist” sculptor who has pushed the boundaries of expression in figurative sculpture for decades through her innovative methodologies.

“I believe in leaving my work for future generations to understand what it was to be a woman born in 1950, a woman of the twentieth century. And, that is what I will leave to the future, and that is whom I work for.”

“It is the truth of the art of the past added to our personal innovation and perspective that creates the art of the future.”

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David Kelley     Art and Ideals by Dr. David Kelley, philosopher.

Dr. David Kelley: Writer and intellectual on philosophical issues from human perception and reason to the furthest applications of ethics and politics.

“…the enormous hunger for the experience of ideals has had to be satisfied with popular film, music, and fiction, with their simple and often sentimental templates of courage in battle and love everlasting…Our ideals need and deserve the skill of fine artists. We need the excitement of artistic innovation, the experience of ideals rendered powerfully and insightfully.”

”Cynics may scoff at those who speak of ideals, but I think it is the cynic who is naïve…Life is a constant pursuit of goals, a constant striving for what we conceive as good for us…any such judgment implies a standard of comparison, a benchmark representing the best that is possible.”

“I am not saying that the representation of ideals is the only function of art. But I believe it is a vital function—and one that has been neglected in the past century.”

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The speakers fielding questions during the Question and Answer session.

 

Five Ayn Rand Questions for Michael Newberry

1) Tell us who you are and what you do.mndana2

I grew up on the beach and have been an artist ever since. I’m a figurative artist and my work explores light, love, and appreciation.

2) When did you first become familiar with Ayn Rand and her works?

When I was 19, my sister Janet—a world top-20 tennis player—told me she had a book I needed to read. That book was Atlas Shrugged.

3) What most interested you or hit you with an “Ah hah!” about Rand’s thinking?

I felt like Rand was giving me a pat on the back for being an artist. She has a very high regard for artists. It was like she was saying to me: “You’re doing a great job; keep going.”

4) How does her work inspire you today?

evesme SmallShe’s a great champion of creators. Rand’s work is a reminder that it’s the creation that matters the most, not superficial things. That is inspiring.

5) Rand wanted us to aspire to a world as it can be and should be. Can you tell us something optimistic you see in the world today or in the future?

What a great question! When I started my career, there were only a handful of figurative artists and they were not held in esteem. Now there are thousands upon thousands of exceptionally good artists who’ve paid their dues and really learned all the skillsets to create incredible figurative works. This is a huge, monumental development and I think Rand helped to set the stage for it.

Michael Newberry is Artist-in-Residence with The Atlas Society

Imagination

Imagination by Michael Newberry

Gallup, The Glistening Playground, 2009, 30 x 40 inches

Gallup, The Glistening Playground, 2009, 30 x 40 inches

Imagination is one of the cornerstones of art. Its use can be quietly subtle, or flagrantly push beyond the bizarre, or inspire generations of people to dream beyond their immediate circumstances and envision a world of possibilities.

One of the more quiet ways to use imagination is to recreate a real scene from life, yet include additional real objects to complete the idea of the work. Here, David Gallup created an idyllic setting of the Pacific Ocean replete with dolphins, birds, and surfers.

Dali, The Temptation of St. Anthony, 1946
Dali, The Temptation of St. Anthony, 1946

Here Dali uses some realistic elements and then distorts aspects of them to create an imagined world in which the unbelievable interacts with the real.

Gerome, Pygmalion and Galatea, 1881
Gerome, Pygmalion and Galatea, 1881

A variation on the unbelievable subject with the real comes from Gerome’s Pygmalion and Galatea. He conveys the legend of the sculpture of Galatea being so perfect that the stone turned into living flesh. Gerome does make the far-fetched scene look as if this is really happening.

Kandinsky, Improvisation 31 (Sea Battle), 1913
Kandinsky, Improvisation 31 (Sea Battle), 1913

Kandinsky’s Sea Battle conveys a rather freewheeling imagination – an ambiguous collection of forms and colors. Is that a strawberry or blood? A wing of a bird or a splash of water? A sail? A rock? It’s rather like looking for animals, and things in the shapes of clouds.

Delacroix, Liberty Leading the People, 1830
Delacroix, Liberty Leading the People, 1830

Delacroix in Liberty Leading the People uses a great deal of imagination in the subject, a half naked woman leading the masses in a revolt against a regime. Yet, the scene is meant to feel genuinely real–not like a surreal dream or like an impossible physical transformation.

By how an artist expresses their imagination, such as an escape, a playful distraction, as entertainment, or as a beacon, one can get some insights into the artist’s philosophy of life. And see something of your reflection as well.

I hope you enjoyed imagining art in a fresh way.

Michael Newberry
Santa Monica, March 2009

Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. Follow him on Instagram at @artnewberry.