Newberry at To Dentro by Thodoris Archontopoulos

Archaeologist Thodoris Archontopoulos takes us on a journey through Newberry’s works in progress. Originally published in the Greek newspaper the Rodiaki, 1996.

Newberry, The Pond, wip, oil on linen

The Pond, wip, oil on linen, 54 x 48″. Destroyed.

Michael Newberry exhibits his works in Rhodes at the salon-like gallery To Dentro (the Tree), June 15th through July 13th 1996.

Newberry has lived in Rhodes since 1995. Previously, he studied art in Los Angeles and in Holland and exhibited in The Hague, Brussels, New York, and frequently in Los Angeles, where he taught drawing and composition for four years at Otis/Parsons College of Art and Design.

In 1995 he exhibited in the Bastion of Saint George, sponsored by Rhodes Cultural Affairs and the Archaeological Service of the Dodecanese.

This year’s exhibition is of large canvases and their preparatory studies in pastel and pencil on paper. This exhibition represents a profound confession to all of us as Newberry takes an absolutely transparent look into the communication between the audience and the artist. Newberry shows us, in an uncommon way, how and even perhaps why he paints.

The character of this exhibition reveals the genesis of painting, but it also allows us to grasp how these expressive studies are united by a common vision, an unusual concept for an exhibition. In three large, unfinished paintings and many preparatory studies (45), we get a special look into the construction of the paintings through their relation to the studies. While the studies are made with different techniques in the mediums of pastel, pencil, and oil, they relate to one another, are connected by a common cause: form and light. Out of form and light the basic idea and the message combine with the color to create a personal aesthetic.

Pastel Color Study for the Pond

Pastel Color Study for the Pond

Atmosphere Graphite Study for the Pond.

Atmosphere Graphite Study for the Pond

Graphite Landscape and Water Study for the Pond.

Graphite Landscape and Water Study for the Pond

By observing these two elements, the paintings and their studies, we can locate the common rudiments of form, composition, light, and atmosphere. The studies’ differences of details, atmospheric light, and colors reveal the time involved in the conception of a large painting, and they contribute to the elevation of the aesthetic of the paintings.

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My Interview with VoyageLA

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Today we’d like to introduce you to Michael Newberry.

 

Please tell us about your art.

Painting and everything associated with it is my ecstasy. It has given me so much joy, and I have learned so much about myself and humanity while painting. Two years ago I had a brush with death, and I was a little shocked at how peaceful I felt. My art had everything to do with that, not having any regrets. But I am very happy now to think of all the projects I get to paint.

But the incredible feelings I get painting are not the only reason I paint. Art communicates. And I try to make the world a better place by sharing meaningful feelings or showing something special and new to see. There are so many artists that have given me new insights into my soul — I hope I can return that experience, one person at a time. Read more with pics here

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?

Originally published online at The Atlas Society.

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.

699px-Jacques-Louis_David_-_Marat_assassinated_-_Google_Art_Project_2.jpg

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. Continue reading

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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A Rejuvenating Visit with Sculptor Tanya Ragir

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ragir_hard_wisdom_3_photo_by_newberry_culturalweekly-com_-1-e1522896635264

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 …

Synergy

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Newberry Synergy oil paintingSynergy
oil on linen, 82 x 66 inches, studio inventory.

Laying down in a closed, dark, tiled space, too young to understand, too inexperienced to sort through feelings, and in too much pain to be aware of the world around him, the ten year old had no choice but to examine everything–or face oblivion. Deep inside him surfaced a feeling of goodness. That feeling would ultimately anchor him to life and earth.

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Chaos, The Bringer of Equilibrium

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Counterpose: Chaos, the Bringer of EquilibriumCounterpose: Chaos, the Bringer of Equilibrium, oil on linen, 36 x 42 inches, studio inventory

 

Chaos was depressed. No matter how hard she tried she couldn’t manage to cope with all of the contradictory forces within her: darkness, burning lights, forms, demons, angels, and bright colors. No single element was the answer to the meaning of existence. It was as if a hundred opinionated voices were speaking all at once, forcefully demanding their spot at the top of the heap. There was nothing tangible to fight, and there was no place to flee. She said: “What an unbearable life.”

 

There was one tiny, microscopic Sublime atom in the chaotic flux that wasn’t fighting, yelling, or competing. It softly mused: “This is all so silly because there is beauty in everything and everything has its nature. I know there is sense to all of this, we only need to discover the key.”

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The Collector

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58A1D7B0-E9CB-4495-9A41-B41318FB52D4“The Collector”, oil on canvas, 60 x 50 inches, private collection

“Life is made up of compromises,” said his teacher. “You will learn that the world doesn’t work that way,” said his other teacher. “Yes, I know I said ‘always be aggressive when you are ahead,’ but make this an exception and be safe,” said his desperate coach. Only once did he discount his inner voice and follow advice that didn’t compute; it ended in a colossal failure. The problem wasn’t so much that their advice was bad, but it didn’t resonate with him.

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