Making Sense of Kant’s Senseless Sublime

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1051px-Giovanni_Battista_Tiepolo_-_Rinaldo_Enchanted_by_Armida_-_Google_Art_Project.jpgGiovanni Battista Tiepolo, Rinaldo Enchanted by Armida, 1742 until 1745. Was this the kind of work Kant associated with charms and sensual delights of beauty?

Making Sense of Kant’s Senseless Sublime

In the last decade of the 18th century Beethoven composed his 1st and 2nd piano concertos, Goya etched the series Los Caprichos, Jacques-Louis David painted The Death of Marat, and Mozart composed the Requiem in D Minor and the great Jupiter Symphony. These works coincided with the French Revolution, and together they guided European culture away from the extravagant art of Rococo exemplified by the sweetly-colored paintings of Boucher and Tiepolo, with their floating florid nymphs, cupids, silks, and princesses.

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Jacques-Louis David, Death of Marat, 1793. The period of the French Revolution marked a new period of art with more gravitas.

This was a paradigm shift from the superficial to gut wrenching passion, as if Western art was going back to its roots in the dramas of Aeschylus and Euripides; answering the big questions of what is the good and what is important while at the same time elevating the creative process by innovation and superlative skill. This wasn’t for the faint of heart. The artists would have to face inner turmoil and outer rejection as they attempted to get patrons to sponsor wildly dramatic depictions of death, war, and executions, which didn’t lend themselves to the decorative palace dining room.  Risking their livelihoods the artists bore down in this new direction. With this revolutionary spirit we can see the need for a new aesthetic to champion and reflect an Age of Enlightenment.

The Sublime the Absolutely Great
The year 1790, when Beethoven was 20, also marked the publication of Immanuel Kant’s Critique of Judgment. It famously compares and contrasts the aesthetic values of Beauty with that of the Sublime. The treatise identifies Beauty representing the lighter more sensual pleasing side and the Sublime addressing what is the “absolutely great beyond all comparison.” Kant wanted to free the Sublime from the constraints of art and launch it into the world of the mind unfettered by perception, form, or realization. …Read more at the Atlas Society website.

Ascension Day Reviewed by Ted Keer

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Newberry, "Ascension Day", oil on linen, 86 x 70 inches, private collection.

Newberry, “Ascension Day”, oil on linen, 86 x 70 inches, private collection.

Note: Ted Keer pass away last month, he had a wonderful curious mind, and it was an honor that he wrote something about a few of my works including the review below:

Michael Newberry’s “Ascension Day” is one of my favorite of his non-traditional paintings. I believe that the essence of my enjoyment is the fully worked out form which simultaneously presents both symmetry and asymmetry, beauty and tension, action and self-centeredness.

When I visited his studio, Michael and I discussed his axiomatic concepts of figurative painting which he designates as form, space and light. I don’t wish to comment at length on his theory, but those who wish to know what he has to say should visit his website and read his statements. I did not discuss this specific painting with Michael, and have intentionally not sought his remarks on it, so that I might comment without bias.

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Some Kant Aesthetic Quotes

Anish Kapoor Marsyas 2002 © Tate Photography

Anish Kapoor Marsyas 2002 © Tate Photography

 

The Critique of Judgement by Immanuel Kant, translated by James Creed Meredith

 

Every affection of the STRENUOUS TYPE (such, that is, as excites the

consciousness of our power of overcoming every resistance [animus

strenuus]) is aesthetically sublime, e.g., anger, even desperation

(the rage of forlorn hope but not faint-hearted despair). [Emphasis in the original]

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Just Published: A Rejuvenating Visit with Sculptor Tanya Ragir

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Tanya Ragir, Hard Wisdom 3, 2017, Ceramic clay, found sycamore wood, concrete, india ink, underglaze, birch leaves, raw pigments, 26.5 x 14 x 11.5 inches, photo by Michael Newberry

 

Over the last two years I have developed a friendship with sculptor Tanya Ragir, a well-known artist in Southern California. Recently, I visited her in her art compound. She is a contemporary romanticist and she honors human nature through her drawings, reliefs, and free-standing figures. A feeling I get from many of her works is a delicious ache of how tender and beautiful our humanity is. Her high-ceilinged, rectangular studio is separate from her home and neatly (for an artist) loaded with tools, molds, studies, and ongoing works. Her current series is fragmented female figures, with pieces of real wood branches piercing or growing out of the figures’ fissures. We talked until early morning and at the high point, in a rich mezzo voice, she read to me a quote by Rumi, “The wound is the place where the light enters you.” Follow this link to the full article at Cultural Weekly: Read more …

Venus of the Planets

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Joy Riding

Decades ago at 2:30 a.m. on a back street in La Jolla, I was arrested driving my mom’s ’68 Firebird 400 convertible. I had our tiny mutts Nikki and Dinky as passengers. I was 12 years old. The feeling of driving was incredibly delicious. Riding home in the back of the cop car, I asked the two burly policemen what I did wrong. I obviously didn’t want to make that mistake again. They looked at each other, not sure they should educate me on the rules of the road. It turned out I was driving with the high beams on. After some prodding, they kindly explained what and how they worked.

My feeling for art is a lot like that adventure–it is hot, daring, and a beautiful experience. I wouldn’t trade that feeling for anything, including life and love. I didn’t have the words to answer people who tried to steer me towards business or a tennis career–it wasn’t going to happen.

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An American Journey

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My show Intimacy at the White Cloud Gallery, Washington, D.C. Nov 3 – Dec 14, 2017

Art Universe

Last year I was painting life-sized nudes, mostly monochromatic, in my Idyllwild cabin with my dog Frida for company. It was like living in a dream, get up in the morning, enjoy my coffee, and then enter into the universe of art. As I painted, I would play music in the background, listening to complete sets of Beethoven’s Symphonies and Handel’s Oratorios, or binge on the complete series of Star Trek Next Generation and Voyager. I was exploring new and challenging ways to express love, myth, and beauty on the canvas. One challenge was how to paint an explicit lovers’ embrace in order to capture their primary feeling of love. Another challenge was creating the deepest space I have ever done. In creating this body of work, I felt my prayers to contribute to a better world being realized.

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The Sublime

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The experience of the sublime is to be looked for in art. Art integrates senses, emotions, and thought. The sublime in art elevates our sensory experience, heightens and taps our emotional potential, and furthers our knowledge. The sublime in art can gives us a moral to the story, a stance towards living. At its best, the sublime in art inspires awe in our human potential and gives us a path to evolve as a whole being and as a species.

Michael Newberry

Idyllwild Paintings 2013 – 2017

Idyllwild Paintings 2013 - 2017

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Just published, available in Coffee Table Book and Kindle formats.

From the inside jacket cover:

Idyllwild Paintings is a journey from the indifferent art scene of Downtown L.A. to the granite mountains of Idyllwild. In danger of losing the meaning of being an artist, Michael Newberry sought a place to explore depth, death, love, and light. Inside are over 45 paintings of narrative, abstract realism, and larger than life-sized portraits.

Through new mentors he was introduced to evolutionary theories, sandwich techniques, and to his dog Frida. An abundance of studio time enabled him to explore painting techniques, color theory, and pushing the boundaries of two-dimensional space. He also explored the fragile inner workings of love themes and symbolism.

Throughout his experience the nurturing environment of Idyllwild’s people served to make what could have been a lonely life, one filled with love and visibility.

Note: Idyllwild Paintings was a labor of love, it is my pleasure to offer no mark up on the coffee table book.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From Modern to Postmodern Art and Beyond, Parts 1 and 2, by 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.”