RoR: Forum

Perhaps more than any other artist, including Rand, Puccini is my biggest influence. I remember painting this, while working a full-time job (2-year stint). I had a profound worries that I would be stuck with that job for life...if I had an hour or two break, teaching tennis, I would rush home and try to push the painting forward. Its life-size.

Through my teens and college I listened to rock but progressively I listened to stuff like ELO and Elton John, the parts I liked the best were the classically influenced sound...one day listening on the Radio I heard a live concert from the Met with Leontyne Price...when she sang Butterfly I was blasted into the world that I had been grasping for. In my most lonely moments, late at night struggling insanely with some nuance of a color blotch that seems to destroy the whole work then if I heard anything from Puccini I would always feel not just revitalized but elated; that such a beautiful expression could exist. My particular problem seemed to weigh less, I still had to fix it but then I was inspired not just to fix it but to turn it into the greatest part of the painting.

Post 1

Monday, November 1, 2004 - 7:50pm

Michael, very nice. I like your contrast of light and dark, the use of lighting behind Puccini. Just curious, what is the source of the lighting behind him? It seems too low to be a lamp...is it supposed to be coming from Puccini himself?

Post 2

Tuesday, November 2, 2004 - 11:45am

This is a haunting painting. It is an older Puccini, thinner than I have ever seen him, and has magnificent lighting. I would love to have a long time to contemplate it.
As you know if you have read my articles here, I share your exalted view of this most underrated composer. My solace is that with each passing decade he is appreciated more and more. You couldn't find an intellectual Puccini fan anywhere in the 50's. Michael, I am very moved by your work and greatly look forward to seeing more of it. I have been a little under the weather the last few weeks, but first on my list this weekend will be to listen to yours and Linz's tapes from TOC.

Post 3

Tuesday, November 2, 2004 - 1:48pm

I've always wondered something about this work, Michael: it seems to me very Caravaggio (a good thing by my reckoning) and one can cetainly feel his power in your painting. I see Puccini more sunlit than this, and more lyrical. I'd love to know what inspired you to paint him like this?
(Edited by Peter Cresswell on 11/02, 1:49pm)

Post 4

Tuesday, November 2, 2004 - 8:19pm

I agree with James: I would like to have time to contemplate the painting. It's fascinating. It seems to draw one in, as though mysteries are to be revealed.

Barbara

Post 5

Wednesday, November 3, 2004 - 5:47am

Joe,

Thanks. The lighting is coming from one source; it hits him in his forehead and then hits the wall behind him.

James,

I used about 30 photographs of Puccini throughout his life, even in death, I had a pic of him laid out for rest. There wasn�t any one pic I used but composed everything from scratch. I started with a nude model for the form under the clothes, and did pastel studies of an Italian for the color nuance. Hope you enjoy the talk!

Peter,

Unfortunately, I don�t have great reproduction of the painting...it is not as dark as it comes out. His face is loaded with pure color: purple, green, ochre, scarlet, pink, and cream. His suit is midnight-blue raw silk and the background colors are purple, ochre, scarlet and green. I think there is a ton of color that is modern but combine to give a slightly italiante flavor. I when I get a better image I will let you know.

Barbara,

Thanks for your observation. Unfortunately I do not know the people who have the painting, long story, but it is somewhere near Boston, I can�t invite you to see it. Sigh.

Post 6

Wednesday, November 3, 2004 - 9:18am