France! April-May 2019

Beziers Residence of Bonnie and Robin Priest

A Visit with My Friends/Collectors in their Palatial Home

Beziers Residence of Bonnie and Robin Priest
Beziers Residence of Bonnie and Robin. Before my pastel art workshop started with Art Provence Experiences and Workshops, I had a few days to visit my friends Bonnie and Robin in their palatial home.

Visiting Beziers and Making Amends

About 6 years ago I flew in and out of France to give a workshop. When my European/American friend Bonnie found out that I’d been there, she was terribly disappointed that I didn’t visit. This year I gave Bonnie and her husband Robin notice that I had 3 extra days before my art workshop would begin in Provence. To my great delight, both of them managed to come from London (main residence) and Germany (work) so that I could stay with them at their Beziers home!

Artworks Are Like Puppies

My painting curtains in the guest bedroom in Beziers
The guest suite where I stayed had my little acrylic Curtains and the Turkish Windows.

It was an opportunity to catch up with dear friends, to get updates on their adult kids –who I knew before they were born – and revisit some of my works and those of some of my past students. People say paintings are like the artist’s children, but that is hyperbole. Perhaps a better analogy is that an artist is like the head of a dog shelter and the pups are under his care until he finds loving homes for them.

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Crazy Journey Last Night – The Kiss

Newberry, The Kiss, oil on canvas, 24 x 36", 2019

Don’t Let the Moment Pass and Go For It!

Several months ago …

Last night I went to bed early after a  long day of painting edits, only some of which were successful.  While painting I had been streaming movies and TV episodes in the background.  One scene in particular caught my eye. It was of a couple kissing, joining lips in classic Hollywood fashion. The scene was stuck in my head when  I went to bed around 9 p.m. I woke up at 9:30 p.m., only a half hour later, with that image still in my mind, and I thought, “Why don’t I paint a kiss?”

Right then I messaged my favorite female muse, who lives in Hollywood, and asked her about the project. Then we discussed who would be the right guy for it. The face had to be stone-like in structure, a big nose (I like painting big noses), and masculine. I remembered a male model that posed for some of my other projects a few years ago, and he, I believed, lived in Hollywood. I messaged him about the project, and he told me that he was leaving Hollywood in the morning (today!) for good. He gave the actor’s dream everything he had, and he was also going to be a dad, and he and his mate were heading to a cabin in the woods in Michigan. I searched his FB page and saw pictures of a vibrant, beautiful woman. I asked: “Are you already packed? Would you, could you, pose with your mate tonight for the “Kiss” painting?” He said: “Yes!” My muse loved that I decided to do the project with them, but she also thought I was crazy for doing such a spontaneous thing.

Newberry, The Kiss, oil on canvas, 24 x 36", 2019
Newberry, The Kiss, oil on canvas, 24 x 36″, 2019
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Polyclitus’ Canon of Proportions

 

Doryphoros or The Canon, Polyclitus, Roman copy in marble of bronze original, c. 450-440 B.C.
Doryphoros or The Canon, Polyclitus, Roman copy in marble of bronze original, c. 450-440 B.C.

The 5th Century B.C. sculptor, Polyclitus, wrote the famous treatise about what methods make the beautiful (to kallos)  and good (to eu) in art, unfortunately now lost. We know something of it through historians such as Pliny and Plutarch. Often mentioned is Polyclitus’ belief in measurements of one finger joint with the next, then the fingers to metacarpus (base of the hand), and it to the wrist, and all of these to the forearm, the forearm to the arm, and so on.

Polyclitus, in his treatise, also dealt with issues other than proportions such as the organic balance of tension and relaxation of body parts.

Polyclitus called this sculpture, The Canon. I think it is wonderful that he wrote a treatise on art and “put his money where is mouth is” by showing what he meant as well.

Notice in the sculpture that he emphasized the man’s little finger, a little like an exclamation mark.

Polyclitus was working the proportions of the natural forms. For example, his fingers look natural, as do other parts of the body, and as does the whole of the body.  The forms weren’t generic shapes of measurements.

King Khafre seated Fourth Dynasty, reign of Khafre Graywacke Height: 120 cm (47 1/4 in) Egyptian Museum, Cairo
King Khafre seated Fourth Dynasty, reign of Khafre Graywacke Height: 120 cm (47 1/4 in) Egyptian Museum, Cairo

Contrast The Canon with this Egyptian sculpture, in which the rudimentary proportion of the overall figure is balanced. However,  when we take a detailed look the forms they remain generic and unnatural–as if they are rounded blocks.

Charles Laughton as the hunchback of Notre Dame
Charles Laughton as the hunchback of Notre Dame

It is also important to note that beauty is connected with pleasing proportions. The antithesis is that ugliness is unbalanced proportions. Think of an hunchback with a hump on one side of his back and topped off by a malformed and unsymmetrical head.

I hope you enjoyed seeing math in art in a fresh way.

Michael Newberry
New York, March 6, 2007