Location: United States
Michael Price
Studio address:
819 Riverside Drive 3rd floor, New York, NY 10032
Born: Stoke-on-Trent, England, 1951.
Biography
Since 2000 Permanent Residence in New York (U.S. citizen 2010)
1977-1999 Resident in Munich, Germany
1994-1995 6 month residence in Austin, Texas
1991-1992 Regular working visits to the Provence, France
1976-1977 Resident in Rotterdam, Holland
Education
1971-1974: London Central School of Art and Design, B.A. with honours (now Central St. Martins)
1969-1971: Stoke-on-Trent College of Art; Pre-degree Foundation Course, studied with the late Arthur Berry
2013: Studio interview by cdsavoia.com
link http://www.watchwetheartists.com/michael-price
2016: (estimated Summer 2016) Book titled, "Renaissance Mysteries, Vol. I, Natural Colour and Vol. II, Proportion and Composition" to be published by Page Publishing, NYC.
Exhibitions: One Person
Planned 2018: Rosalie "Roz" Steiner Art Gallery, Batavia, New York
2017: Walter Wickiser Gallery. Catalogue
2015: Walter Wickiser Gallery (Oct. 2015). Catalogue
2010: Alfa Art Gallery, New Brunswick, New Jersey.
2009: Walter Wickiser Gallery, New York. Catalogue
2005: Henry Gregg Gallery, Brooklyn, New York
FGS Gallery, Englewood, New Jersey
2003: David Findlay Galleries, New York
2002: Post Gallery, Houston, Texas
2000: Post Gallery, Houston, Texas
1998: Galerie Poller, Frankfurt am Main, Germany. Catalogue
1997: Post Gallery, Houston, Texas
1996: Post Gallery, Houston, Texas
1989: Galerie Poller, Frankfurt am Main, Germany
Galerie am Theaterplatz, Erlangen, Germany
1988: Galerie Friedrich, Cologne, Germany. Catalogue
1985: Galerie von Braunbehrens, Munich. Catalogue
Group and Museum (selection)
2015: "ArtExchange", College Art Association Conference, New York.
2014: Alfa Art Gallery, New Brunswick, New Jersey.
2013: Walter Wickiser Gallery, New York (four person show titled "Figure Variations", Catalogue)
2011: Alfa Art Gallery, New Brunswick, New Jersey
2010: Walter Wickiser Gallery, New York Catalogue
Henry Gregg Gallery, Brooklyn, New York
Alfa Art Gallery, New Brunswick, New Jersey Catalogue
2009: Toronto International Art Fair (Walter Wickiser Gallery)
2008: Walter Wickiser Gallery, New York (four person, “Just the Figure”)
Henry Gregg Gallery, New York
2005: Post Gallery, Houston, Texas, (four person)
2001: Organization of Independent Artists, New York (group)
1996: ‘Paros’, Paron, France. (3 painters & 1 sculptor) Catalogue
‘18th Hollfelder Sommeraustellung’, Bayreuth, Germany (group)
1993: ‘Six International Artists’, Montague Art Galleries Inc., New York
1989: Galerie Friedrich, Cologne, ‘Line-art’ (group)
1988: Galerie Friedrich, Cologne, (group)
1985: ‘Art Cologne’, Galerie von Braunbehrens
1984: ‘Kunst Salon’, Haus der Kunst (Museum of Modern Art), Munich Catalogue
Galerie von Braunbehrens, Munich (group)
1983: ‘Kunst Salon’, Haus der Kunst, Munich Catalogue (group)
Galerie von Braunbehrens, Munich (group)
1982 Galerie von Braunbehrens, Munich (group)
1981: ‘Trends 81’, Mall Galleries, London (group)
‘Drawing Show’, Loggia Gallery, London (group)
‘Kunst Salon’, Haus der Kunst, Munich Catalogue (group)
Galerie von Braunbehrens, Munich (group)
Publications:
Research on the preparation and application of natural and mineral pigments
2007: College Art Association Conference Abstracts 2007:
"The Contemporary Relevance of the Renaissance Palette" pp. 190-192.
2005: 1. "Bunte Götter, Die Farbigkeit antiker Skulptur" - Skulpturhalle Basel,
Switzerland. Exhibition of the recontruction of polychromatic Greek sculpture, 11th
Aug. - 20th Nov. 2005. Catalogue contribution titled:
'The preparation and application of mineral pigments', pp.256-259.
Dutch translation: Kleur! Bij Grieken en Etrusken, prepared for the Allard Pierson
Museum, Amsterdam.
2. Journal „Artwatch“ UK, No. 20, Summer 2005
‘Blue, bluer, blu-est’, pp. 30-34
2000: „Leonardo“; Journal of the International Society for the Arts, Sciences and
Technology, M.I.T. press.
Title: ‘A Renaissance of Colour, Particle Separation and Preparation of Azurite for
Use in Oil Painting. (Issue 33/4).
Collaboration on Mineral Pigment Research with Institutions and Companies
Since 2008: Doerner Institute, Munich, Germany
2005-2007: 1. Vienna University of Technology, Austria. Binding medium and natural resin
analysis with mineral pigments.
2. Golden Colors Inc. Production of a sample of historical mineral pigments for the
company display.
2003-2007: The Glyptothek, Munich. The preparation and application of mineral pigments with
Greek polychromatic sculptures.
2002-2004: MOMA scientific conservator, C. McGlinchey, New York:
a. Analysis of the purity of my newly developed method for the extraction of lazurite
from the semi precious rock lapis lazuli.
b. X-ray diffraction of prepared mineral pigments and extracted impurities
c. Advanced ageing tests of selected prepared and unprepared natural and mineral
pigments.
2001: Tests with drying oils, essential oils and varnishes on prepared natural and mineral
pigments.
Since 1998: Kremer Pigments, Aichstetten, Germany:
Adaptation of my methods of pigment preparation for the production of azurite. This was
extended to include malachite and cinnabar.
1998: 1. Dr. R. Treichler, Siemens AG, Munich, Germany:
SEM-imaging of azurite particles (for the „Leonardo“ publication).
2. Mr. H. Lezec, Micrion Corporation, Peabody, USA:
FIB-imaging of azurite particles (for the „Leonardo“ publication).
1989-1990: Dr. A. Burmester, Doerner-Institute, Munich, Germany:
Examination of evidence of applied geometrical methods revealed from the infra-red
spectrographic analysis of a Tintoretto painting, the Bamberg „Assumption of the
Virgin Mary“.
Lectures:
1. ‘A Lost World of Colour: The Preparation and Use of Natural and Mineral Pigments in Oil Painting’
2. The Geometry of Painting Formats.
2013: Walter Wickiser Gallery, New York, "Dürer's Melencolia I"
2010: Alfa Art Gallery, New Brunswick, New Jersey.
2009: Salgamundi Club, New York.
2007: 1. Colloquium: ‘A Renaissance of Colour’, Doerner Institute, Munich, Germany.
2. Chair Person: College Art Association 95th Annual Conference, NYC
“The Contemporary Relevance of the Renaissance Palette”
Other speakers invited by Michael Price included Michael Skalka,
Washington National Gallery; Dr. Georg Kremer, Kremer Pigments; Shuya Wei, Vienna
University of Technology, Austria.
2005: Henry Gregg Gallery, New York
2002: Luxun Academy of Fine Art, Shenyang, China
Houston Museum of Fine Art, Houston, Texas
2001: ‘Painter’s Forum’, New York. A quarterly symposium on archival materials and
techniques
1999: New York Art Academy, New York
Munich Academy of Art, Germany
1996: School of Fine Art, University of Texas, Austin, Texas
Teaching and Instruction:
Since 2003: Workshops in collaboration with Kremer Pigments, New York:
The properties and preparation of natural and mineral pigments and their application in
tempera, casein, natural resins and oil binding mediums.
2002: Oil painting department of the Luxun Academy of Fine Art, Shenyang, China.
llustrations, Writing and Poetry
1992: Illustrations published in the English Literary Journal ‘Iron’
1981-1982: Articles on art for the German magazine ‘Anglo American Spotlight’ (now
Spotlight).
1975: Poetry selected and read at the ‘City of Westminster (London) Literary Festival’.
Reviews (selection)
2005: Süddeutsche Zeitung Nr. 184, Munich, Germany
2002: Interview by PBS TV, Houston (broadcast May 2002)
1996: 'Région sénonaise', France
1988: 'Handelsblatt', Germany
1986: 'Stadtillustrierte Nürnberg, Furth, Erlangen', Germany
1985: 'Süddeutscher Zeitung' & 'Abend Zeitung', Munich
1983: 'Abend Zeitung', Munich, Germany
1982: 'Süddeutscher Zeitung', Germany
The Timeless Nude
The aim of my exploration of the nude and human figure conceived within a timeless universe is to reveal that the archetypal images carried within ourselves are just as real - or imaginary - as the physical world we inhabit. This tangible and finite world provides the inspiration for the painting process.
The colour is produced from rocks and crystals including lapis lazuli, azurite and cinnabar, the natural and luminous colours of the Renaissance palette. Since 2008, pure gold leaf provides the perfect complement for the chromatic values of natural pigments.
Through the poetry of Euclidean geometry, the structural foundation for a composition is established. This allows the message carried within the image to attain its maximum impact and resonance to unveil the memory of our immortality reflected from the mortal perspective.
“Evolution of a Myth No.1 Birth of Adam”
Evolution of a Myth
1. Birth of Adam
Zeus in Paradise found snake-like disguise
before a woman, dark, naked, alone
waiting for new life. Pleasure her surprise
entwined with a dream, she sank to the ground.
Guardian angels not knowing the deed
in the midst of light gave shadow with grace
should beasts of the earth catch sight and be shown
the splendour of love unfolding the sound
all blossom's delight. Coiled up with a need
to shine as the stars on dust of the earth
knowing child-like sleep, came bone of her bone,
came flesh of her flesh. Alone, she gave birth.
With a setting smile, she saw in his face
the God she had known of tender embrace.
“Evolution of a Myth No. 2 The Circus”
Evolution of a Myth
2. The Circus.
More than a life-time in search of the Light.
The circus parades an hilarious host
battling heaven's space ignoring the plight
of a crucified and ghastly ghost.
Shadows overturned, each variation
opens dilemmas diverting the course
of life's eternal torment where the source
weeps. Darkness magnifies a projection
of monstrosities. I stand and listen.
The Light vibrates with no end to the fun.
Images dilate as beliefs hasten
to relative glory. This world's poor sods
worship prophets, not deeds. The time has come,
out of love for the Light, to change the gods.
“Evolution of a Myth No. 3, Eve's Triumph”
Evolution of a Myth
3. Eve's Triumph
Yahweh's gardener, a man as myself
singing love and pain to cool Shade of day.
Language - no meaning talking to himself.
The trees, stones and serpent prepared the way
as the dying star true to its pleasure
in lasting virtue laments through the night
to release its soul for greater delight
plumbing the depths of Eve's timeless treasure.
She was Shade of day. Love brought Her new care
in joy and sorrow, like the air we share,
breathing forever Her smile from afar.
Poor Adam laments locked in his story.
Stars laugh and explode, heaven left ajar
as Eve steals Yahweh's power and glory.
“Evolution of a Myth No. 4 The Last Prayer of St. Sebastian”
Evolution of a Myth
4. The Last Prayer of Saint Sebastian
Here once and no more, life leaving no trace
where our souls echoed through each other
recalling a time when we could embrace
the shadow of Love's eternal mother.
Your silence cut deeper than fear. My heart
crumpled with memories of our passion
trembling with untold delight in unison:
but we were lovers condemned from the start.
When did your heart's desire pierce my skin
deeper than nerve ends? The wounds praise God's might
- a myth out-growing silhouettes of sin.
My lips are now spikes. Kiss your hidden light
of untold glory and shoot forth sorrows
myself the victim loved by my arrows.
“Evolution of a Myth5 La Follia, Annunciation”
2016. Natural and mineral pigments in casein distemper, Strasbourg turpentine and oil on linen on panel. 162 x 140 cm / 63.8 x 55.1 ins.
“No. 6 Venus Serenades Jonah's Dream”
No. 6. Venus Serenades Jonah's Dream
Venus sings dreams of love everlasting
riding the waves of a brooding ocean.
Jonah flees his soul's request, resisting
an inner command for greater wisdom.
The goddess called on all desires to arise
and search for new depth. Thoughts fragile and wet
opened a new world to Jonah's surprise
where the weeping whale dispelled his regret
to sound bewitched rhyme, source of divine seed.
Its soul sighed open - but wrapped in white gown
an apparition, not a whole day freed
swallowed his love and let judgement be known.
Her pale skin sang out to his heart's request
pressed tight in her arms, his spirit - distressed.
“Evolution of a Myth No. 7, Salome's Madness”
2016. Gold leaf, natural and mineral pigments in casein distemper, Strasbourg turpentine and oil on linen on panel.167.5 x 122 cm / 66 x 48 ins.
“Evolution of a Myth No. 8, Orpheus, Eurydice and Christus in the Underworld”
2016. Gold leaf, natural and mineral pigments in casein distemper, Strasbourg turpentine and oil on linen on panel. 150 x 117 cm / 59 x 46.1 ins.
“Evolution of a Myth No. 9, The Carousel”
2016. Gold leaf, natural and mineral pigments in casein distemper, Strasbourg turpentine and oil on linen on panel. 139.8 x 152.5 cm / 55 x 60 ins.
“Evolution of a Myth No. 10, Apocalypse, God on Her Bicycle”
10. Apocalypse: God on her bicycle
End of time, the four horsemen have been fired
from their apocalyptic duty
as the myth took a sudden turn and hired
an outsider with a different concept
free from biblical prophecy,
wild predictions and dictated precepts.
Stretched across heaven, parasol held high
God rides her bicycle on a tightrope.
Created in her own image asking why
humanity held its vision of hope
while drowning in greed and folly. The flood
came first as predicted. The sun glows deep red
burning the planets as the scientists said.
Even she as a God had misunderstood!
