In one of the most important aesthetic books, Kant separates the sublime from the senses and art. This is the first in Newberry’s series on Kant, which will cover far-reaching implications.
In this episode, I reflect that it has been 40 years of painting life-size figures and now it is time for a major retrospection of my work in a major museum of contemporary art.
Newberry discusses the influences of Vermeer, Rembrandt, and Michelangelo in his current work in progress.
A visit to well known NY gallery of an artist’s solo show of still lifes. I was surprised he didn’t get the connotations of his visual language. It was like talking to someone who didn’t get that they were making a double entendre.
Newberry discusses phallic shapes in painting with reference to Velazquez “The Signing of Breda” contrasted with some florals by Georgia O’Keeffe.
For decades I have listened to classical music every day while painting. Here are my favorite and most inspiring recordings:
No 1: Puccini, Turandot
Conducted by Zubin Mehta. Sutherland, Pavarotti, Caballe, Chiaurov, Krause, Pears, John Alldis Choir. London Philharmonic Orchestra.
This opera and recording represent one of the greatest art achievements of the 20th century. In 1925 Puccini died before completing the last act, it premiered in 1926 at La Scala conducted by Arturo Toscanini. This recording has great singers, great performances, beautifully and passionately conducted, and fresh clean sound. This recording inspired my painting of Puccini and Denouement. My aesthetic takeaway from this opera was that it integrated romance, epic setting, beautiful and exotic color/sound harmonies, gorgeous melodies, powerful chorus, the battle of the sopranos, and maintained the big picture driving towards powerful closings of each act. My painting Denouement was the result of translating this aesthetic from music into paint.