Da Vinci shows us in his drawing humanity, science, discovery, empathy, light, and beauty. All can be metaphors for life.
Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate
In the mid-20th century these three forces––Kant’s philosophy, abstract expressionists, and the CIA––congealed ostensibly to champion freedom and originality, instead accomplished an undermining of art and consequently humanity. The connections and machinations are so complicated and obtuse it is hard to take them seriously, but it does make a difference in understanding them, at least in the sense of whether or not our culture evolves.
Michael Newberry’s presentation of the contrast between insanely praised postmodern artists with the most innovative and forward looking figurative artists practicing right now.
Puccini oil on linen, 60 x 70 inches, private collection. As a pre-teen, I often felt an unbearable delight in things: There was a local sub shop run by a Sicilian man named Tony. Tony used imported Italian ingredients to make his submarine sandwiches, and the combination of rich flavors created an explosion in …
Understanding the makeup of light and shadow is a fundamental art tool. Indeed, you cannot create forms without it. Three-Quarters Classic Light A 3/4’s light is falling on this egg form. This means that 3/4’s of the object is directly lit and the rest of it is in shadow. Four Key Elements Just looking at …
Light delights us. It, and it reminds us that we couldn’t live without it. In paintings is easy to see, but the development of it through history is anything but simple.It has been the focus of some of the world’s greatest artists. It is worthwhile to get a glimpse of some of the innovative artworks that advanced light in painting.
Ellipses make or break any drawn plate, glass, or bottle. When beautifully done they transport the viewer to experience serene harmony.
Artists often agonize over the completion of a painting. The bugaboo for many realists is the detailing. Details are the crowning touches and yet, more often than not, they can rob the painting of its vitality.
A few years ago I read the book What Art Is: The Esthetic Theory of Ayn Rand by Torres and Kamhi. I was disquieted to read their take on Rand’s definition of art, specifically about the meaning of metaphysical value-judgements. Perhaps the thing that was the most surprising to me was that their perspective on this issue is so much not the way that I experience art; either as a creator or as in appreciation, or how I understand Rand’s meaning. In a sense, their book has been the catalyst for this lecture. I hope to answer them by showing how you can detect metaphysical value-judgments in painting. But, more importantly, I hope to show you how to find and, perhaps, share the artist’s incredible passion that lies just beneath the surface of the paint.