Counterpose: 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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Venus 3: Reaching For the High Note, oil on linen, 46 x 26 inches. Studio inventory.
Venus was the most beautiful baby born, but she was cursed in two ways: First, no one knew who her father was, her mother deftly convincing the village that the father was Zeus. The second curse was that she was indeed beautiful. She drew looks of appraisal and sometimes envy from everyone she passed. But she felt tremendous shame because she thought they were staring at her because of her illegitimacy.
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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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Pastel on Dark Paper – Just Add Light by Michael Newberry
Pastel and dark paper are a great combo to create light effects.
Whenever I am a little stressed or some of my big projects weigh on my mind I get out pastels and some nice black or beautifully dark paper, like a Cansons, and go to town.
I love working pastel on dark paper for one important reason: the pastel being lighter than the paper directly creates a pure colored light.
I remember being in a kind of down mood and when Kimberly arrived to model I wanted to shake off that mood and feel free. We collaborated on this pose, one quite difficult to hold for more than 2 or 3 minutes.
The paper is black Cansons, 19 x 26″.
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Lights and Darks in 3’s by Michael Newberry
One big problem that artists face when developing light and shadow in a work is that they tend to have the exact same darks and lights scattered around the surface. The result is that it kills the life out of the drawing!
A great way to solve that problem is to celebrate a hierarchy of lights and darks. The simplest way to do that is to focus on three different tones of lights and darks.
Here I will take you through what I mean.
Dreams of Round Things, 2006, charcoal on Rives BFK, 26 x 19 inches.
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Integration, Part 1: Light by Michael Newberry
Integration is, perhaps, the most complex problem in making art. Often it is the cause of an artist’s agony and ecstasy. In this two part series, each tutorial will focus on one problem and show how the solution fits into the whole.
The theme of Counterpose is about a harmony of contrast. At that time in my life, it reflected my quest to pull together many different aspects of art and life and to balance them.
I have removed the color from this image so that we can focus on the tonal values of the light.
Counterpose, 1990, oil on linen, 36×42″ (Black/white photo)
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Integration, Part 2: Color by Michael Newberry
Newberry, Counterpose, 1990, oil on linen, 36×42″
In the tutorial, Integration of Light, Part 1, I mentioned that the theme of Counterpose is about a harmony of contrast. I showed how I painted extreme contrasts in light and dark. In this tutorial, I am showing how, keeping to the theme of contrast, I painted extremes of color contrasts.
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Jacob Collins, Sensuous Nature of Light by Michael Newberry
To talk about the art of Jacob Collins is to talk about his inquisitiveness.
Jacob Collins is a contemporary realist artist. He paints and draws portraits, landscapes, still-lifes, and nudes. Across the board, he imbues them all with sensuous light and an aptitude for finely wrought detail. He reminds me of a scientist who shines a light on an object to see it to full advantage. And like a scientist, he sees beauty in realizing his understanding of things. He told me “I find beauty in observing and in furthering my knowledge about light, the identity of plants and trees, and even such things as the nature of the formation of rocks and land masses.”
Currently, he is working on completing a landscape project of 50 oil paintings and graphite studies, with the centerpiece being a large landscape 50 x 100″. An exhibition of this landscape project will be on view May 8 – June 13, 2008, at Hirschl Alder Modern in New York City.
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