Demo on Student Work, Color Theory and Light by Michael Newberry

Newberry-student-demo-time-lapse

Using color theory of cool shadows and warm highlights, I corrected this student’s painting. The student got stills with instructions of the steps, here it is simply a time-lapse. Shadows and distance are often either cool or warm, cool shadows imply a cool background. It works. I did about 12 steps, cooling up the background and shadows. For example, on the lips, I changed the blood-red shadows to violet, red+blue=violet. Then I softened the edges where there was a strong line between shadows and highlights, they always need a middle tone dividing them. Then I finished with the light using a light peach, light orange or peach is the opposite of blue — Warm light, cool shadows. I hope this is useful to you.

Michael Newberry, Idyllwild, 4/1/2020

Tutorials, Online Mentorship and Student Testimonials

CV19 Emergency Art Study

sue-universal

My heart goes out to everyone right now, and I know for many of you it is hard, can’t work and don’t feel too inspired right now. But if you have some art project laying around untouched or a future project you have thought about I can help you and reconnect you to our primal art roots. Tap your potential and connect the dots of emotion, mind, and senses — it is one of the most healthy mental things you can do.

We work with email, messenger, and phone. You get understanding, nudging, and homework. Send me an email, mtnewberry@gmail.com, show me some of your works, and we can take it from there. Modest sliding rates, I really want to help.

Michael Newberry, Idyllwild, 3/25/2020

5th Through 12th in the Animal Lifted Embargo Series by Michael Newberry

Newberry, Retriever, 2020, oil on panel, 9x12"

I worked till 6 am getting these ready to be signed. So far this week the series has 12 little paintings, the recent 7 here. The Animal Lifted Embargo Series has significantly changed my opinion about including animals in my paintings. They really help set off the scale and atmosphere of the landscapes. I am surprised that just two tiny marks, in the case of the sandpipers, can reset the landscapes dramatically.

If you click on the images in will take you to each painting’s page on my archive including the pricing. If you love one of them be sure to let me know and we can make owning it happen.

Michael Newberry, Idyllwild, 3/9/2020

3rd and 4th in the Animal Lifted Embargo Series by Michael Newberry

Newberry, San Miguel, 2020, oil, 9x12”
Newberry, San Miguel, 2020, oil, 9x12”
Newberry, San Miguel, 2020, oil, 9×12” I taught a workshop in Mexico sometime ago, this was on the way to San Miguel de Allende from San Luis Potosi, originally there were no horses, I just painted them in today. Haha, before you complain they don’t look like horses, they are only 1/4″ high in the painting, I am not a miniaturist. I think they look cool regardless.
Newberry, Teton Twilight, 2020, oil, 9x12”
Newberry, Teton Twilight, 2020, oil, 9×12” This was from another workshop I taught, in Wyoming. The inclusion of the horse does something interesting: it completes the pair of trees in a nice rhythm. It also gives a jolt of life to the landscape. In a very tepid way I am giving a hint of romanticism to the landscape.

With this Animal Lifted Embargo Series, I am refining my hierarchy of subject values. Humanity is at the top, consequently, I paint/draw individuals filling the universe of the canvas or paper space. Animals are a far distant second place, recently insignificant, but I am now enjoying placing them in landscapes as minor players. It makes me feel peaceful and the experience of painting them feels a bit magical. If I made them the same size as humans (allowing perspective truth etc) I would be extremely uncomfortable with that.

Michael Newberry, Idyllwild, 3/7/2020

Newberry, Seagull at Picnic Island, 2020, oil on panel, 12×16″

Newberry, Seagull at Picnic Island, 2020, oil on panel, 12x16"

Just signed, 2nd in my Animal Lifted Embargo Series

Newberry, Seagull at Picnic Island, 2020, oil on panel, 12x16"
Newberry, Seagull at Picnic Island, 2020, oil on panel, 12×16″

hahah, I am enjoying the animal lifted embargo. I can’t stand painting little people in landscapes, makes my skin crawl when I see other painters do it. I love plein air painting being outdoors in a beautiful place just painting what I see, it feels like channeling the universe’s energy. But all landscapes have abundant life seen and unseen. For instance, while painting this there was behind me a pelican ferociously nose-diving into the water to pinch fish. Its only this last week I lifted the embargo on painting animals–I kept thinking of those horrible paintings of animals dressed as humans playing billiards or smoking cigars around the poker table. Can you imagine the psychology of the person that sees themselves that way? “Don’t mind me I am just a pug dressed as a human.”

There is an exciting tension in placing an animal just right, it seems to set off the landscape and definitely twerks the composition, like a zigzag incorporating the direction of the light, the bird’s flight path, the feeling of “lift,” setting off the formal composition of the water and land masses. Delightfully fun.

Michael Newberry, Idyllwild, 3/5/2020

Book Idea: Psychological Aesthetics and the Exciting Fight to Evolve by Michael Newberry

Willendorf Venus c. 28,000 BCE – 25,000 BCE Discovere 1908 near Willendorf, by Josef Szombathy, Naturhistorisches Museum, Vienna, Austria

Beyond Obstacles, Malevolence, and Ignorance 

Willendorf Venus c. 28,000 BCE – 25,000 BCE Discovere 1908 near Willendorf, by Josef Szombathy, Naturhistorisches Museum, Vienna, Austria
Willendorf Venus c. 28,000 BCE – 25,000 BCE Discovere 1908 near Willendorf, by Josef Szombathy, Naturhistorisches Museum, Vienna, Austria

I have been thinking about writing an art book filled with stories, anecdotes, speculation on prehistorical art, real life experiences, and the knowledge of what is it is like to strive for the sublime. Today I started with the title and listing chapter headings.

Psychological Aesthetics and the Exciting Fight to Evolve: Beyond Obstacles, Malevolence, and Ignorance

Chapters

  1. Leaving One’s Mark: Taming Powerful Animals Through Capturing Them In Art
  2. Imagining the Next Step: Willendorf Venus or I Will See You Later Tonight
  3. Safety in Group Think, Their Fear of the Unknown and the Extent They Will Go Eradicate Evolutionary Nudges
  4. Wisdom, Truth, and Courage Within: Calibrating Perception, Evaluation, and Emotion
  5. To Be or Not To Be? To Break Free or to Conform?
  6. Tears, Love, and Visibility: The Alternate Universe
  7. The Art Instinct: What Makes Humans Unique Animals?
  8. Art is the Power That Religion Wants: Control the Artists you Control the Mass Psyche
  9. Art Transcends Agendas By Touching Individual Souls
  10. Power Without Wisdom Corrupts Completely: Michelangelo in the Quarry; Postmodernist Malevolence 
  11. Life or Death: Consequences of Integrity
  12. Freedom of the Sublime
Newberry, Where No One Has Gone Before, 2018, oil on linen, 64x46"
Newberry, Where No One Has Gone Before, 2018, oil on linen, 64×46″

Doggie at the Beach and an Aesthetic Musing

Newberry, Doggie at the Beach, 2020, oil on panel, 9x12"
Newberry, Doggie at the Beach, 2020, oil on panel, 9x12"

Just finished this. Taking a little one week break, perhaps two, from painting on Model in the Studio, I am revisiting some small plein air paintings. A departure for me is that I painted in this dog into the landscape. Artistically I love what it did to the composition, creating a “<” axis from the highlighted glimmer to the dog, then to the bottom right corner. I also love the mood of it. In the past I have rejected doing animals because humanity is at the forefront of my mind. I love my dog, Frida, and she loves me, but she doesn’t even glance at my art. :(

Some very interesting aesthetic problems with philosophical implications are the size of the subject in relation to the canvas and what that subject is. I know this sounds highbrow but bear with me, or at least indulge me to share the kind of thing I think about when painting. Most of my definitive works feature humans and their size dominates the canvas–they feature prominently in the painting’s universe. Landscapes serve well as a back drop for human activity, or when it is just a landscape there is an implication that we as humans are looking at it through a window of our beautiful home, or a view from a hike, or day at the beach. Though, if you take a naked landscape literally, with no humans present, it could imply that humankind does not exist–a very interesting rabbit hole to go down. There are also the cases of massive landscapes with tiny itty-bitty people implying that humanity is insignificant to the awesomeness of the universe. But seriously, if there are no humans or aliens, the concept of a caring or meaningful existence simply wouldn’t exist. My conclusion is that humans are top dogs when it comes to the humanities and to our psychology.

Many friends have asked me if I have painted Frida, which so far is a “no.” I just can’t bring myself to do a dog portrait (though I did one as an 18-year old for a fraternity brother as a fine art major). It feels like I would be elevating them above humanity. But with this new mini series with smally painted animals accenting the comparatively larger landscapes, it definitely feels like a massive “YES!” It makes sense to me that animals figure in our universe but do not rise up to the stature of humanities uniqueness, which art, philosophy, language, politics, and spirituality matter. So it is official!–I have lifted the animal embargo and now feel free to paint animals as long as they are tiny enough not to upsurge humanity.

Michael Newberry, Idyllwild, 3/1/2020

Please feel free to share your thoughts on this, you must have some interesting ones.

Thodoris Archontopoulos, Byzantine Archaeologist and Art Historian

Thodoris Archontopoulos, Byzantine Archaeologist and Art Historian
Newberry, Thodoris Archontopoulos, 1998, acrylic on panel, 10x8"
Newberry, Thodoris Archontopoulos, 1998 (unfinished), acrylic on panel, 10×8″

I met Thodoris in the Fall of 1994 in Rhodes, Greece. Incredibly smart, both an archaeologist and an art historian with a perfectionist integrity for styles, dates, and research in art. It was a huge honor that he made a presentation and wrote the review for my 1996 show at To Dentro, in Rhodes, Greece. The review was published in the Greek newspaper the Rodiaki. The show was about the creative process for large definitive works that were then works in progress. A few years later, the same show but with the completed definitive works became an international traveling exhibition “Visions” 1998 November-Athens College, Athens, Greece; August-Ministry of Greek Culture, Rhodes, Greece; July-institute for Objectivist Studies, Summer Seminar, Boulder, Colorado.

Continue reading “Thodoris Archontopoulos, Byzantine Archaeologist and Art Historian”

Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate

Larsen, Triumph of Icarus Study, 2008

Myths, legends, and stories infiltrate our collective and individual consciousness, and the same holds true for the visual arts. The myth of Icarus, who flew too high then crashed and burned, was mentioned by Apollodorus around 150 BC and has since shown up countless times in visual art.

Icarus Landing, Phaethon, and Ayn Rand

An interesting twist in the legend comes with my 2000 version. The concept was inspired by Ayn Rand, who rewrote the myth of Phaethon in Atlas Shrugged. In the ancient myth, Apollo gives the reins of the sun chariot to his son Phaethon, who is unable to control the flying horses or escape his destiny. Phaethon and the chariot threaten to crash and annihilate Earth. Zeus, watching, kills Phaethon with a bolt of lightning, forcing Apollo to retake the reins and right the sun chariot’s course.

In Rand’s version, her character, Richard Halley, composes an opera in which Phaethon brilliantly succeeds to steer the sun chariot to a glorious course. I loved the concept of taking a tragic myth and changing the outcome to reflect my absolute inner belief that magnificent experiences are the stuff of living. The chariot thing was too archaic for my modern sensibility, but with some thought I landed on the concept of Icarus. After flying wildly high, I thought, Icarus would return to Earth with gentle gratitude, lit by the orange glow of the day’s setting sun. I opted for no wings, just the outstretched arms. Appropriately I painted this while I lived in Greece, and I won’t lie, I loved scaling the rock cliffs in the buff, jumping from rock to rock, as my friend philosopher David Kelley can attest to.

Newberry, Icarus Landing, 2000, acrylic on linen, 55x36"
Newberry, Icarus Landing, 2000, acrylic on linen, 55×36″
Continue reading “Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate”

Update on my WIP Model in the Studio

newberry-model-in-the-studio-wip 4

Today’s update on Model in the Studio, wip, oil on linen, 42×56” It is very interesting that there is a war going on now in the humanities, arts, and in politics. Essentially it’s reason, perception, truth, science, human values, benevolence, resolution, sense, and evolution vs. misinterpretation, manipulation, lies, opinion, ignorance, snark, malevolence, arbitrary, senseless, and devolution. I could not be happier and I chose wisely. Everything in this painting is in the first group, the 2nd group is post modern crap. Hard work and flourishing or bitter rage? Apparently for many people it’s not an easy choice. #lifelessons #figurativeart #wip #contemporaryart #postmodernism #humanflourishing