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 TAMAr, 1971 OIL On CAnVAs 32x24 In. /81x60.5 CM.

Newman’s Major Periods Columbus, Ohio. During this period Newman also wrote his first book of
During a time where this is so much charade and folly as to what poetry COMPOUND PULSE seeking to construct a faceted cubist poetry.
constitutes great art, it is uniquely refreshing to meet David Newman.
He has remained consistent and determined to embody his vision into “Henley” Period (1969-1980) – This period commenced when Newman was
six decades of dedicated work. His distinctly personal oeuvre includes appointed Chairman of the Art Department of Henley School, Long Island.
sculpture and sculpture designs, drawings, bible illustrations, abstract and Here he continued a series of existential portraits in oil; still-lifes and semi-
representational paintings (and every conceivable variation in between), abstract landscapes, created wax sculptures, designs for architectural
not to mention poetry and a couple of plays and novels. Newman feels
his contribution to art is manifold, as he integrates a solid sense of
composition, a masterful handling of lines, textures and colors into the
exploration of themes, moods and visions. Newman seeks to capture the
immediacy of life, and describes his work as abstract expressionism.
The evolution of a master is complex and encompasses numerous styles
and mediums. Not only is his work something of an anthology of various
innovations up until his time, he also contributes something distinctively
his own. In order to appreciate the depth and magnitude of his life’s
labor, it is helpful to divide his career into major periods.
Classic Period (1946-1958) – As a young man of 20 years, he was the
protégé of Malvina Hoffman and studied at various Art Schools: Art
Students League, Clay Club, National Academy of Design and at the
University of Syracuse with Ivan Mestrovic. The early 1950’s where also a
busy time with an exhibit at at Jacques Seligman Gallery, NYC, a one man
show at the Jewish Museum, NYC and various works commissioned and
purchased by Monroe Wheeler, curator of Museum of Modern Art, Marlon
Brando, Fred Allen and Dick Smith. During this era, Newman migrated
to France and Italy enriching his knowledge in European Art Schools
including the Beaux-Arts of Paris and being hospitated by Professor
Romano Romanelli in his own studio at the Academia delle Belle Arti in
Florence, the same building which contained the DAVID and UNFINISHED
SLAVES of Michelangelo. Newman was invited by the Academia in Carrara
to carve marble from May to October each year as a guest. They supplied
working space, and assistance for various projects. During the winters,
studio space provided by Vatican sculptor, Antonio Berti in Sesto also
as a guest. During this period, Newman carved IL PUNGO, TORSO, and
L’OPPRESSO in Carrara marble. Newman returned to America in the late
50’s executing a commission for 34 bronze busts for the founders of the
Miami Beach Mount Sinai Hospital and for a one man show of sculpture
and drawings at the Norton Gallery of Art in Palm Beach.

New York Period (1959-1968) – Sculpture in iron, clay, plaster. Began to
paint full-time and created a series of existential portraits in oil including
playwright Bernard Pomerance. Illustrated the Bible with 127 pastel
drawings. Groups and one-man shows in NYC (Seligman and Royal
Athena) and Paris (Knoedler); represented in Museum of Modern Art in