The Individual

I find one of the most attractive qualities in any person is the fearlessness and enjoyment of their own identity. That deep self-awareness and confidence in who they are is stunningly beautiful to me. Oddly, I’ve noticed a lack of self-consciousness in those individuals. I love exploring the visual theme to “know thyself” in my paintings of individuals.

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″

Newberry, Icarus Landing, 2000, acrylic on linen, 55x36" — Newberry, Icarus Landing, 2000, acrylic on linen, 55×36″

The delicacy and control are masterful, as is his ‘reclamation’ of two myths and — by his choice of theme and the delicacy and control with which he has handled it — making triumph out of tragedy. Incredible? It sure is. I find that as you study it (especially if you open the image see it as large as you can) , your eye changes from at one moment seeing the figure just hanging by its arms, and the next gently descending in space, and under complete control. That really is mastery in paint. –Peter Cresswell, Architect

Newberry, The Sculptor, 1980, oil on linen, 68x46" — Newberry, The Sculptor, 1980, oil on linen, 68×46″

Newberry, The Collector, oil on linen, 60x50" — Newberry, The Collector, oil on linen, 60×50″

Newberry, Promethia 2, 2013, oil on linen, 78×58″

Newberry, Venus, 2008, oil on linen, 48x48" — Newberry, Venus, 2008, oil on linen, 48×48″

How beautiful she is! She seems to be offering herself as her great gift to the world. –Barbara Branden, Author of The Passion of Ayn Rand

Newberry, God Releasing Stars Into the Universe or The Gift, 1999, oil on linen, 82x60" — Newberry, God Releasing Stars Into the Universe or The Gift, 1999, oil on linen, 82×60″

Newberry, The Slipper, oil on linen, 46x46" — Newberry, The Slipper, oil on linen, 46×46″

Slipper is one of my favourites by artist Michael Newberry, who like all great literary and visual artists has the ability to conceive and create scenes of total originality that – just like the great myths and legends that had the dramatic power to last thousands of years in the retelling — once seen (or read) the world is inconceivable without them. –Peter Cresswell, Architect

Newberry, Synergy or To Receive, 1999, oil on linen, 82x60" — Newberry, Synergy or To Receive, 1999, oil on linen, 82×66″

Newberry, Idyllwild Icarus, 2017, oil on canvas, 60x48" — Newberry, Idyllwild Icarus, 2017, oil on canvas, 60×48″

Newberry, Reaching for the High Note, 2018, oil on linen, 46x26" — Newberry, Reaching for the High Note, 2018, oil on linen, 46×26″

Newberry, Lynia Wearing a Hat, 1981, oil on linen, 36x28" — Newberry, Lynia Wearing a Hat, 1981, oil on linen, 36×28″

Newberry, Rob I, 1977, oil on linen, 48x40" — Newberry, Rob I, 1977, oil on linen, 48×40″

Newberry, Jette, 1977, oil on linen, 48x38" — Newberry, Jette, 1977, oil on linen, 48×38″

Newberry, Unbearable Lightness of Being, 2017, oil on canvas, 36x58" — Newberry, Unbearable Lightness of Being, 2017, oil on canvas, 36×58″

“Lightness” is right—she’s floating on a cloud! That’s what it feels like. Once the delicious Dionysian intoxication started to fade and I regained my ability to look at something besides her, “the cloud” revealed itself to be a fluffy comforter. I would imagine that achieving cloudness was facilitated by your choice of a monochromatic palette. Your work is not about words. It’s the cure for words, the antidote—which is true for anything sublime. I love how comfortable she is in her own skin, neither self-conscious nor exhibitionist, content to just “be”. Like your Venus, she is unaware of our gaze; she is not there “for us”, she just IS. –Rick Barker, author “Transcending Evolution”