The below is a very interesting philosophy of art by gallery owner, Leslie J. Sacks, my comment follows.
Leslie Sacks Fine Art
Gallery Philosophy
Western civilization’s passion for structure and explanation has separated mind from body and emotion from the psyche, along with every other possible subdivision. This dislocation of what is essentially interconnected and universal has led Western man in a direction opposite that of traditional Eastern culture and other more naturalistic peoples. This cultural difference not withstanding, if one were to scientifically investigate the commonalties between various peoples, one would probably find that the differences are vastly in the minority when compared with the incidence of natural similarities.
Likewise, in the art world there is more commonality than difference between modern art and tribal art, contemporary art and German Expressionism, lithographs and oils; more shared than disparate between ceramics and illustrated books, theatre and music. There need be no artificial barriers between disciplines. It is possible for a gallery, a collector or a museum to show and enjoy a variety of seemingly disparate works because the innate universality of elements predominates for the viewer who is open to the river of life flowing through all of humanity’s inspired creations.Western civilization’s passion for structure and explanation has separated mind from body and emotion from the psyche, along with every other possible subdivision. This dislocation of what is essentially interconnected and universal has led Western man in a direction opposite that of traditional Eastern culture and other more naturalistic peoples.
French Impressionism started a great cycle of change, throwing off the strictures and limitations of hundreds, indeed thousands, of years of the Western cannon. This change continued with Post Impressionism, Cubism, Fauvism, and German Expressionism, to name but a few nineteenth and early twentieth century movements. The culmination and refinement of many of these exciting and challenging directions were delineated in modern art, which produced a new renaissance. Picasso, Miro, Marini, Matisse, Moore, Kandinsky, Pollock, Rothko and a host of artists have distilled the essence of the centuries of art that preceded ours and restated the precepts of the classical in previously unimaginable ways, thereby deconstructing artificial barriers that would disconnect the past from the present, while challenging future generations to do the same.
Leslie J. Sacks
The above is a beautiful statement about how artists with a touch of genius worked towards rejecting classical and renaissance advancements in art and art knowledge, to focus on more “universal” natural states of the common man. But isn’t an oxymoron to have a brilliant artist, like Picasso, opt to refocus his skill to become ordinary, popular.
Picasso: ”Today, as you know, I am famous and very rich. But when I am alone with myself, I haven’t the courage to consider myself an artist, in the great and ancient sense of the word. … I am only a public entertainer, who understands his age.”
As much as I like Leslie’s statement and his conviction, I disagree with his dismissal of structure/form from the art program. He is right that form separates great renaissance art from the flatness of most of the world’s art. But who is right here? Should artists bend over backwards to use their incredible and potential talents to work towards a village craft? It is a like the hypocrisy of James Cameron using the latest technology of commuter animation and spending millions so that we can experience his ideal of village farmers in a pre-civilized state.
To the contrary I believe artists should embrace their genius and skill, and integrate all of their knowledge and discoveries, including form, and reach for their highest potential–even if that means leaving tribal life in the dust. Isn’t it kind of patronizing for a genius to lower their sights to be like everyone else? Though, I think that when artists reach for their best, they don’t diminish anyone, rather it inspires others to rise.
Leslie Sacks Fine Art
Gallery Philosophy
Western civilization’s passion for structure and explanation has separated mind from body and emotion from the psyche, along with every other possible subdivision. This dislocation of what is essentially interconnected and universal has led Western man in a direction opposite that of traditional Eastern culture and other more naturalistic peoples. This cultural difference not withstanding, if one were to scientifically investigate the commonalties between various peoples, one would probably find that the differences are vastly in the minority when compared with the incidence of natural similarities.
Likewise, in the art world there is more commonality than difference between modern art and tribal art, contemporary art and German Expressionism, lithographs and oils; more shared than disparate between ceramics and illustrated books, theatre and music. There need be no artificial barriers between disciplines. It is possible for a gallery, a collector or a museum to show and enjoy a variety of seemingly disparate works because the innate universality of elements predominates for the viewer who is open to the river of life flowing through all of humanity’s inspired creations.Western civilization’s passion for structure and explanation has separated mind from body and emotion from the psyche, along with every other possible subdivision. This dislocation of what is essentially interconnected and universal has led Western man in a direction opposite that of traditional Eastern culture and other more naturalistic peoples.
French Impressionism started a great cycle of change, throwing off the strictures and limitations of hundreds, indeed thousands, of years of the Western cannon. This change continued with Post Impressionism, Cubism, Fauvism, and German Expressionism, to name but a few nineteenth and early twentieth century movements. The culmination and refinement of many of these exciting and challenging directions were delineated in modern art, which produced a new renaissance. Picasso, Miro, Marini, Matisse, Moore, Kandinsky, Pollock, Rothko and a host of artists have distilled the essence of the centuries of art that preceded ours and restated the precepts of the classical in previously unimaginable ways, thereby deconstructing artificial barriers that would disconnect the past from the present, while challenging future generations to do the same.
Leslie J. Sacks
The above is a beautiful statement about how artists with a touch of genius worked towards rejecting classical and renaissance advancements in art and art knowledge, to focus on more “universal” natural states of the common man. But isn’t an oxymoron to have a brilliant artist, like Picasso, opt to refocus his skill to become ordinary, popular.
Picasso: ”Today, as you know, I am famous and very rich. But when I am alone with myself, I haven’t the courage to consider myself an artist, in the great and ancient sense of the word. … I am only a public entertainer, who understands his age.”
As much as I like Leslie’s statement and his conviction, I disagree with his dismissal of structure/form from the art program. He is right that form separates great renaissance art from the flatness of most of the world’s art. But who is right here? Should artists bend over backwards to use their incredible and potential talents to work towards a village craft? It is a like the hypocrisy of James Cameron using the latest technology of commuter animation and spending millions so that we can experience his ideal of village farmers in a pre-civilized state.
To the contrary I believe artists should embrace their genius and skill, and integrate all of their knowledge and discoveries, including form, and reach for their highest potential–even if that means leaving tribal life in the dust. Isn’t it kind of patronizing for a genius to lower their sights to be like everyone else? Though, I think that when artists reach for their best, they don’t diminish anyone, rather it inspires others to rise.
Prototype for my new art pages
February 9, 2011 — Michael NewberryI am the one who does my website, I like doing it, especially when I am excited and I want it done now. I am in the process of merging my 3 websites into one. It was fun mapping out the big picture, and to give a clear impression about me as an artist that loves to share art knowledge with collectors and other artists.
Click on Venus to be taken to the new prototype page. And be sure to let me know your thoughts, I appreciate the feedback.
Michael
mtnewberry@gmail.com
Venus, 2008, oil on linen, 48 x 48 inches (121.9 x 121.9 cm) AvailableThe theme of Venus is beauty.
I wanted to show the woman who might have inspired Hesiod’s legend, some 2700 years ago. Having lived on Rhodes it is easy to imagine a hot summer dawn and walking down a goat path to the sea, rounding a corner, and seeing a beautiful nude woman at the shore – looking as if she had materialized from the sun’s first rays.
I worked on Venus over a 7 year period, starting in Rhodes, Greece, and finishing her in Brooklyn. It was a dedicated project, especially without funding. But working long term on audacious projects is what I do.
Though Venus may appear to be a classical painting, it is a far cry from traditional figurative techniques. To create the luminosity of the early morning, hot, golden light, I had to push the limits of the color. For her lighted skin color I used the brightest, hottest colors of oranges, scarlets, and reds and contrasted them with the coolness of muted green shadows. Combining unique color combinations with realism as been one of my hallmarks over the years.
I am not sure who is the right collector for Venus: a realist or romantic; a contemporary or a humanist; an observer or a visionary?
The original is available. If you would like to view her and discuss the price please make an appointment with me to visit the Newberry Gallery.
A Giclee canvas reproduction of Venus is available now.
Venus Giclee Canvas Limited Edition
MTNewberry@gmail.com
310-913-8986
Click on Venus to be taken to the new prototype page. And be sure to let me know your thoughts, I appreciate the feedback.
Michael
mtnewberry@gmail.com
Venus, 2008, oil on linen, 48 x 48 inches (121.9 x 121.9 cm) AvailableThe theme of Venus is beauty.
I wanted to show the woman who might have inspired Hesiod’s legend, some 2700 years ago. Having lived on Rhodes it is easy to imagine a hot summer dawn and walking down a goat path to the sea, rounding a corner, and seeing a beautiful nude woman at the shore – looking as if she had materialized from the sun’s first rays.
I worked on Venus over a 7 year period, starting in Rhodes, Greece, and finishing her in Brooklyn. It was a dedicated project, especially without funding. But working long term on audacious projects is what I do.
Though Venus may appear to be a classical painting, it is a far cry from traditional figurative techniques. To create the luminosity of the early morning, hot, golden light, I had to push the limits of the color. For her lighted skin color I used the brightest, hottest colors of oranges, scarlets, and reds and contrasted them with the coolness of muted green shadows. Combining unique color combinations with realism as been one of my hallmarks over the years.
I am not sure who is the right collector for Venus: a realist or romantic; a contemporary or a humanist; an observer or a visionary?
The original is available. If you would like to view her and discuss the price please make an appointment with me to visit the Newberry Gallery.
A Giclee canvas reproduction of Venus is available now.
Venus Giclee Canvas Limited Edition
Published in 2008, Giclee limited edition of 100, hand signed.Permanent ink printed on canvas.
22 x 22 inches (55.9 x 55.9 cm)
Michael Newberry22 x 22 inches (55.9 x 55.9 cm)
MTNewberry@gmail.com
310-913-8986
Red Gerbera by Michael Newberry
February 6, 2011 — Michael Newberry
Newberry, Red Gerbera, 2011, oil on panel, 12 x 9 inches
I just signed this a few minutes ago. Painting it was effortless and immensely enjoyable. It matches my mood: a passion for the beautiful things that break through dark barriers, curve into the light, and shine richly.
It is available now. Email or call me if you are interested to greet it in the mornings, and kiss it good night in the evenings. $1000
Putting it Together
January 27, 2011 — Michael NewberryThis week I have been putting my 3 websites together combining them into one. www.MichaelNewberry.com Its almost as difficult as making an audacious painting. For example one problem is transferring my 50+ art tutorials and merge them seamlessly to their new home. It will be an ongoing project, so I expect it to resemble a New York highway project. But develop it will, and I look forward to hitting the “refresh” button and putting out a clear picture of my passion for painting, mentoring, and sharing art.
Cheers,
Michael
Cheers,
Michael
Anatomy and Light
January 26, 2011 — Michael Newberry
Anne’s ink drawing of a torso from life combined with learning artists’ anatomy.
I have a new student, Anne, and she is taking a 3-month figure drawing course. We will be focused on learning the figure from the inside out. We started at the beginning, how to hold the drawing instrument to loose gesture, how to use plume lines, and simple egg shape. Anne did a super job with this. We have a session on the hip today, and I can’t wait to see her progress to light and shade.
Dee Dee, pastel still life, work in progress.Dee Dee is exploring color and light theory, and developing her drawing skills at the same time. This is something like her 3rd or 4th pastel ever. She is coming back this Friday to finish it. Its kind of funny, she is left handed and her lines go in the opposite direction of mine. I teach a technique of layering the pastel, from darker to lighter, gently creating waves of tonal and hue changes. Lines going in the same direction enable “washes” of light. It works for pen and ink, and pencil as well. Cross hatching, can sometimes have unintended brutal effects, great for strong accents, but not when you are trying to be subtle!
I am please that Dee Dee is getting the feel, and eye for recreating what she sees.
My Art Space
January 15, 2011 — Michael NewberryI took some pictures of my art space today, January 15th, 2011. One end is where I show my work, the other end is where I paint, and in-between is where I teach.
Newberry art space, Jan. 2011
Newberry Venus and Icarus Landing.
Newberry art space, the working side. Jan. 2011
Newberry art space, Jan. 2011
Newberry Venus and Icarus Landing.
Newberry art space, the working side. Jan. 2011Just Signed – Portrait of a Man
January 6, 2011 — Michael Newberry
Michael Newberry, Portrait of a Man, 2011, oil on canvas, 12 x 9 inches.I just signed this painting.
One of my favorite lifestyles is to have dinner with a mixture of patrons, intellectuals, philosophers, and artists. Share wine, stories, theories, art experiences, and solutions to world’s problems! If I could pick one thing that reminds me the most of these moments is an oil sketch portrait of a young man or woman. I think of the paintings on the walls of 19th century Russians, the turn of the century French academics, Italian Renaissance artists’ studios, Rembrandt, Picasso’s friends, and my friends in Europe and here.
In this portrait I like the earnestness of the man, his steady gaze. This model has posed for several studies of the Man Moving Forward, and it was a nice change to do a painting of him, not a study for something else.
New Student Under 3 Hours
January 5, 2011 — Michael Newberry
Cynthia, Yellow Box, 2011, oil on panel, 9 x 12 inches.Yesterday I mentored Cynthia in a private session This is her first oil painting. She has had very little art making experience, and she did an excellent job with her perspective of the box, and the angle of the table. She also mixed the colors, both in a beautiful way, with a nuance to the shadow color, and true to what was there. It was a very rewarding session.
Out of the Blue
January 4, 2011 — Michael Newberry
Michael Newberry, Venus, 2008, oil on linen, 48 x 48 inches
Hello Michael,
I just wanted to tell you how beautiful your work is…..I am an astrologer in Seattle working on a presentation about planets in love. While searching the web for images of gods and goddesses, I came across your incredibly beautiful painting “Venus”. I am just stunned at the beauty of your work and the powerful emotions and feelings that this image and others I saw on your gallery site produce in me.
I am not an artist (although I write poetry which contains visual imagery) so I apologize if I can not do your paintings justice by speaking of them in the “correct” terms—but I am a “romantic” with a life long love of mysticism and beauty….I am moved by Pre-Raphaelite art (sometimes derided as sentimental), the works of Sandro Botticelli, Raphael, John Singer Sargent, Vermeer and many of the works of the German Secession movement….I am not educated or well versed in the works of modern artists although I have a curious mind and artist friends who often turn me on to wonderful images and painters….But, like the old cliché, I know beautiful art and am smitten by the incandescent light I see in your work—it is incredibly spiritual as well as sensual, impossible to succinctly describe.
I would like to use your image of Venus in one of my astrological talks if it ends up being a power point presentation. I hope you are ok with that.
Thank you again and best wishes—
Susannah White
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