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Biographie

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Sacha NewleyCiting­the­painter­poets,­Rossetti­and­Blake­as­formative­influences,­Sacha­Newley­defines­his­mission­as­“radical­classicism,”­to­combine­the­qualities­of­classical­technique­to­contemporary­subject­matter.­The­result­has­made­his­work­a­visual­diary­of­some­of­the­late­20th­century’s­most­important­cultural­icons

What has been your journey to becoming an artist?

Several­factors­have­combined­together­with­timing,­but­my­interest­in­art­first­manifested­ itself­ at­ an­ early­ age.­ I­ attended­King­Alfred’s­School­ in­ the­UK­which­emphasized­and­encouraged­creativity­ in­children­and­when­I­was­six­to­eight­years­old­I­had­a­great­time­immersing­myself­in­making­papier mâché­and­sensing­the­joy­of­making­art.­I­then­forgot­about­it­until­I­was­in­my­teens­when­I­began­to­draw­a­lot­and­I­focused­on­self-portraits.­My­art­essentially­began­as­doodles­and­I­was­always­fascinated­by­the­faces­of­old­men­and­the­sense­of­ light­and­shadow­ in­ their­ faces.­Doing­a­History­of­Art­ ‘A’­ level­was­ a­ further­ stepping­ stone­ as­my­ teacher­ encouraged­ intensive­ practical­sessions­and­ I­ realized­ I­had­a­natural­grasp­of­what­painters­were­ thinking­of­ their­ subject­matter.­When­ I­was­ 18­ I­ gave­ up­ painting,­ though,­ in­ favor­of­writing­a­long,­autobiographical­poem.­It­was­during­a­moment­of­ intense­writer’s­block­that­I­found­my­way­back­to­painting.­I­bought­some­paints­and­started­drawing­again.­ It­was­an­ ‘Open­Sesame’­moment­ from­which­ I­have­never­looked­back.

You quickly became known for your portraits.

Yes,­my­first­portrait­was­of­Madeleine­Curtis­and­I­did­it­in­a­highly­photorealist­style­–­painstakingly­painting­every­follicle­of­her­hair.­It­took­me­five­months­to­complete­and­ from­ there­other­commissions­arose.­ I­was­ thrilled­ to­be­a­jobbing­portraitist­at­the­age­of­20.

Lyme Regis was where you were based at that time?

Yes.­I­lived­in­a­virtual­ivory­tower­overlooking­the­sea,­and­it­felt­at­times­as­if­I­was­floating­in­the­sky;­my­apartment­was­quite­high­up.­I­was­a­virtual­recluse­at­this­time,­living­in­squalor,­and­my­studio­allowed­me­to­get­lost­as­an­artist.­I­made­a­lot­of­bad­art­at­this­time,­but­I­firmly­believe­that­creative­failures­are­important­as­they­allow­you­to­find­your­way.­It’s­for­this­reason­that­I­am­so­interested­ in­shadows­and­why­ I’ve­always­been­fascinated­by­the­works­of­Edward­Munch,­Schiele­and­ the­German­expressionists.­We­are­all­naturally­drawn­to­disaster­and­seduced­by­the­monstrous.­When­I­was­in­Lyme­Regis­I­confronted­many­of­my­own­demons­and­it’s­why­in­later­life­I­was­so­drawn­to­other­men­who­had­faced­them­too.

Your body of work is certainly impressive – you have been privileged to paint many legendary “men of genius”.

I­seem­to­gravitate­towards­men­who­feel­wronged­by­society­or­have­been­shaking­their­fist­at­the­establishment.­One­of­my­first­portraits­was­of­Billy­Wil-der­which­was­extraordinary.­I­had­taken­a­break­from­painting­in­my­early­20s­as­I­wanted­to­become­a­director­and­in­fact­attended­film­school.­Of­course,­I­had­to­move­to­Los­Angeles­and­whilst­I­still­kept­a­small­studio­there,­I­also­began­writing­ scripts.­With­ no­ income­ coming­ in,­ I­ decided­ to­ get­ back­ to­painting­and­called­my­mother,­Joan­Collins,­to­get­Billy­Wilder’s­number.­I­was­surprised­when­he­answered­the­phone­himself­and­even­more­surprised­when­I­turned­up­to­meet­this­great­director.­He­was­very­stooped,­and­showed­me­into­a­dark­room­with­a­high­window­behind­a­desk.­There­was­no­light­on­the­canvas:­it­was­all­on­him,­which­made­the­initial­portrait­difficult.­I­met­him­three­times­and­worked­in­silence­for­most­of­it.­As­they­say,­the­truly­great­ones­are­always­ the­most­humble­and­ I­was­ impressed­by­his­quietude.­When­ I­ took­back­the­finished­painting­I­was­met­with­total­silence.­His­wife­later­called­me­to­say­he­loved­the­painting;­he­just­didn’t­like­himself­very­much!

Born­ in­ New­ York­ City­ in­ 1965,­ Sacha­ Newley­ first­began­to­paint­seriously­at­the­age­of­18.­He­soon­rose­to­prominence­with­his­portrait­Sir Nigel Hawthorne in Character as King George III­(1993)­which­was­chosen­by­ the­ English­ National­ Theatre­ as­ the­ promotional­image­ for­ its­ touring­ production­ of­ The Madness of George III.­Newley­went­on­to­paint­a­second,­full-length­depiction­ of­ Hawthorne­ in­ character,­ which­ is­ now­ in­the­ permanent­ collection­ of­ The­ Victoria­ and­ Albert­Museum.­Another­honour­was­bestowed­upon­Newley­in­2004­when­his­triple­portrait­of­Christopher­Reeve­was­acquired­by­The­National­Portrait­Gallery­in­Washington­DC­ at­ the­ Smithsonian.­ In­ 2007,­ Newley­ produced­a­ contemporary,­ living­ portrait­ of­ America’s­ greatest­citizen­ and­president,­Abraham­Lincoln.­ ­ The­painting­is­ considered­ the­ jewel­ in­ the­ crown­ of­ the­ illustrious­Lincoln­Heritage­Museum­collection­ in­Lincoln,­ Illinois.­­Newley­is­currently­at­work­on­paintings­for­the­movie­Effie­–­starring­Emma­Thompson­and­Sir­Derek­Jacobi,­which­ celebrates­ the­ relationship­ between­ two­ great­figures­ of­ the­pre-Raphaelite­movement,­ John­Everett­Millais­and­John­Ruskin.­Newley­is,­without­question,­the­finest­and­most­sought-after­portraitist­at­work­today.

www.sachanewley.com­

Selected Solo eXhibitioNS2012­July­12-29­–­“All­or­Nothing”,­The­Temp­Gallery,­Sacramento,­USA2010­–­1-man­retrospective:­“PRISM­The­Many­Facets­of­Sacha­Newley”,­LA­ARTHOUSE,­Los­Angeles,USA­2010­–­1-man­retrospective:­“FACE­VALUE­The­Portraits­of­Sacha­Newley”,­Pacific­Design­Center,­Los­Angeles,­USA2008­–­“Blessed­Curse”,­Catto­Gallery,­The­Arts­Club,­London,­UK2006­–­“Portraits”,­Wally­Findlay­Galleries,­Palm­Beach,­USA2001­–­“From­the­Hamptons­to­Harlem”­new­work­by­Sacha­Newley,­Catto­Gallery,­London,­UK2000­–­Sacha­Newley­“Saint­George­and­The­Dragon”,­Grey­McGear­Modern­Gallery,­Bergamot­Station,­Los­Angeles,­USA

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Sacha Newley

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Christopher Reeve, 2004, oil on linen, 44 x 68”, permanent collection National Portrait Gallery, Smithsonian

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Gore Vidal, Oliver Stone and Dominick Dunne were all next. What were they like to paint?

Oliver­Stone­was­very­uncomfortable,­which­is­ironic­given­his­mé-tier­as­a­director­–­he­didn’t­like­to­be­scrutinized­and­it­took­a­while­for­him­to­get­used­to­the­process.­In­the­end­I­did­three­paintings­for­him­–­one­of­which­he­gave­to­his­mother­and­he­kept­the­other­two.­He­was­also­quite­vain!

When­I­met­Dominick­Dunne,­who­was­a­good­friend­of­my­mother­and­ father’s,­ he­ had­ just­ finished­ covering­ the­ OJ­ Simpson­ trial­for­Vanity Fair­and­was­incredibly­busy.­Everyone­wanted­to­meet­or­ interview­him­and­because­of­his­ forthright­belief­ in­OJ’s­guilt,­he­suffered­a­backlash­of­public­opinion­and­even­received­death­threats.­When­I­met­him­he­was­staying­in­Chateau­Marmont­and­lived­in­one­of­their­corner­suites.­The­only­space­we­had­was­in­the­kitchenette­area­with­a­table­set­upon­linoleum.­He­hardly­had­time­to­look­up­as­he­was­writing­up­his­notes­and­I­realized­that­that­was­the­painting.­The­intensity­of­his­feelings­and­commitment­to­his­job­was­very­apparent.­He­bought­the­finished­painting­im-mediately­I­had­completed­it.

Your portrait of Christopher Reeve is also emotionally charged, isn’t it?

I­only­had­an­afternoon­to­meet­Christopher­as­he­had­been­extremely­ill­and­was­recovering­from­an­infection.­Little­did­I­know­he­would­be­ dead­ in­ less­ than­ six­ weeks­ after­ our­ meeting.­ I­ went­ up­ to­meet­ him­ in­ Bedford,­ New­York­ and­was­met­ by­ his­wife­ Dana.­He­came­towards­me­in­his­wheelchair­and­was­dressed­head­to­toe­in­black­which­made­a­profound­impression­upon­me.­I­turned­and­photographed­him­ from­every­direction­and­during­ that­ time­his­wicked­sense­of­humour­was­apparent.­ In­ the­end,­ I­ realized­that­the­painting­came­to­be­all­about­the­wheelchair,­and­how­this­‘superman’­was­reduced­but­not­overpowered­by­it.­I­did­a­series­of­three­paintings­and­one­of­them­is­now­in­the­Smithsonian­Institute­in­their­20th­century­gallery,­of­which­I­am­very­proud.

In many ways you have been a visual diarist of some of Hollywood’s greatest stars?

I­didn’t­plan­that­consciously­but­you’re­right­and­by­coincidence­I­had­my­first­exhibition­in­the­iconic,­storied­hotel­Chateau­Marmont­(where­John­Belushi­died­and­which­has­been­the­scene­of­many­of­Hollywood’s­famed­parties).­I’ll­never­forget­that­opening­night.­

My­mother­had­organized­for­her­Public­Relations­Manager,­Jeffrey­Lane,­ to­ publicize­ the­ event­ and­ in­ the­ end­ 500­ people­ came­ –­amongst­them­Sharon­Stone­and­many­of­the­press­and­film­crowd.­However,­ it­was­ a­ real­ anticlimax­ afterwards­ and­ I­ realized­ there­and­then­that­LA­is­not­a­town­for­paintings.­I­turned­my­back­on­portraiture­for­a­while­and­went­into­abstract­art­which­had­much­to­do­with­me­acquiring­a­huge,­white­cube­of­a­studio­in­Venice,­California.­

What did you learn from abstract art?

I­found­it­very­liberating.­Having­to­rely­on­form­and­color­to­express­yourself­is­a­challenge,­but­I­learned­so­much­about­texture,­paint,­different­mediums­and­I­loved­it.­I­felt­very­inspired.­It­was­after­this­that­I­painted­my­father,­Anthony­Newley,­as­Scrooge.­It­turned­out­to­be­a­monumental­work­and­was­the­gateway­to­further­figurative­work.

How supportive have your parents been of your creative career?

They­were­both­enormously­supportive­and­never­got­in­the­way­–­even­when­I­wanted­to­go­off­the­radar­for­indefinite­periods.­I­have­to­admit­ that­my­mother­hooked­me­up­with­many­of­her­ friends­(amongst­them­Sir­Nigel­Hawthorne)­and­this­was­my­entrée­ into­Hollywood.­ I­guess­ I­ took­ that­advantage­a­ little­ for­granted,­but­since­then­I­have­made­my­own­way.­­

Who are your heroes in terms of other portrait artists?

Chronologically­ I­ love­ Holbein,­ Memling,­ the­ early­ Renaissance­­artists­and­Rembrandt’s­self-portraits.­Velasquez,­Van­Dyck,­Munch,­­Beckman,­Schiele­and­the­Expressionists­as­I­have­said­all­played­a­significant­part­in­my­formative­experience.­However,­John­Singer­Sargent’s­facility­with­portraits­makes­him­in­my­opinion­the­greatest­brush­man­and­is­in­a­league­of­his­own­and­I’ve­recently­returned­from­Florence­where­I­was­fortunate­to­take­in­an­exhibition­dedica-ted­to­him.­

Your style has developed from the early portraits though?

In­my­early­work,­I­relied­heavily­on­photographs­and­it­was­only­later­that­I­started­to­work­from­life.­I­realized­that­I­was­translating­from­one­language­into­another,­by­turning­a­photograph­into­an­artwork.­The­act­of­painting­in­itself­is­revelatory;­and­I­am­conscious­in­my­portrait­paintings­that­they­are­three­dimensional.

Dominick Dunne, 1996, oil on linen, 24 x 36” Billy Wilder, 1998, oil on canvas, 20 x 26” Gore Vidal, 1994, oil on canvas, 36 x 54”, permanent collection National Portrait Gallery, Smithsonian

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What medium do you like best?

I­love­experimenting­and­have­worked­in­pastels,­acrylic,­oils­and­with­paint­sticks.­I’m­not­really­into­etching­but­I­do­love­to­expe-riment­–­I’ve­tried­painting­with­a­hairdryer,­using­it­to­blow­around­watery­pigment­on­paper.­While­ the­diversity­of­mediums­seems­scattered,­ I­ think­ in­ the­ long­ term­ this­experimentation­will­make­sense.­I­often­see­this­in­other­artist’s­retrospectives.

What are you currently working on?

Well­I’ve­just­finished­my­first­book­–­called­Unaccompanied Minor and­it’s­been­a­huge­project­which­has­taken­me­almost­three­years­to­complete.­It’s­autobiographical­and­features­some­of­my­paintings­also.­ I­ feel­ that­ I’ve­ turned­ full­circle­ in­a­way.­ I­became­a­painter­because­I­had­writer’s­block­and­now­my­writing­desk­is­as­impor-tant­as­my­easel;­that’s­why­I­have­always­held­the­‘painter­poets’­Rossetti­and­Blake­in­high­esteem.

Penny McCormick

Scrooge 1, 1999, pastel on paper, 16 x 20” Anthony Newley as Ebenezer Scrooge, 1998, pastel on paper, 14 x 20”

Oliver Stone, 1998, oil on canvas, 24 x 24