“Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings…” Francis Schaeffer (1912-1984). We take a look today at how the Beatles were featured in Schaeffer’s film.
How Should We then Live Episode 7 smalL
On You Tube you can plug in HOW SHOULD WE THEN LIVE EPISODE 7 SMALL and watch the film that runs 28:35:
Man is only a machine, but the men who hold this position could not and can not live like machines. If they could then modern man would not have his tensions either in his intellectual position or in his life, but he can’t. So they must leap away from reason to try to find something that gives meaning to their lives, to life itself, even though to do so they deny their reason.
Once this is done any type of thing could be put there. Because in the area of nonreason, reason gives no basis for a choice. This is the hallmark of modern man. How did it happen? It happened because proud humanist man, though he was finite, insisted in beginning only from himself and only from what he could learn and not from other knowledge, he did not succeed. Perhaps the best known of existentialist philosophers was Jean Paul Sartre. He used to spend much of his time here in Paris at the Les Deux Magots.
Sartre’s position is in the area of reason everything is absurd, but one can authenticate himself, that is give validity to his existence by an act of the will. With Sartre’s position one could equally help an old woman across the street or run her down.
Reason was not involved, and there was nothing to show the direction this authentication by an act of the will should take. But Sartre himself could live consistently with his own position. At a certain point he signed the Algerian Manifesto which declared that the Algerian war was a dirty war. This action meant that man could use his reason to decide that some things were right and some things were wrong and so he destroyed his own system.
Karl Jaspers, German existentialist, tended to have the greatest impact on the thought and life form which followed existential thought. According to him we may have some huge experience which gives us the hope that perhaps there is a meaning to life even though our reason tells us that life is absurd. He calls this a final experience. Martin Heidegger, was another existential philosopher who said the answer was in the area of nonreason. The German philosopher said there is something he called “Angst,” a general feeling of anxiety one feels in the universe, this feeling, this mood of anxiety revealed existence and this imposes on us a call for decision out of this mood comes meaning to life and to choice even against one’s reason, meaning which rests on nothing more than this vague feeling of anxiety so nebulous it doesn’t have a specific object. As Martin Heidegger grew older this view became too weak for him so he changed his position.
Martin Heidegger (1889-1976)
Existentialism as a form of philosophy has all but disappeared but more and more people are thinking this way even if they don’t know the name Existentialism. To them reason leads to pessimism so they try to find an answer in something totally separated from reason.
Aldous Huxley the English philosopher and writer proposed drugs as a solution. We should, he said, give healthy people drugs and they can then find truth inside their own heads. All that was left for Aldous Huxley and those who followed him was truth inside a person’s own head. With Huxley’s idea, what began with the existential philosophers – man’s individual subjectivity attempting to give order as well as meaning, in contrast to order being shaped by what is objective or external to oneself – came to its logical conclusion. Truth is in one’s own head. The ideal of objective truth was gone.
Aldous Huxley featured on cover of Beatles’ album SGT PEPPER’S LONELY HEARTS CLUB BAND
The drug culture and the mentality that went with it had it’s own vehicle that crossed the frontiers of the world which were otherwise almost impassible by other means of communication. This record, Sergeant Pepper’s Lonely Hearts Club Band, became the rallying cry for young people throughout the world. It expressed the essence of their lives, thoughts and their feelings. Later came psychedelic rock an attempt to find this experience without drugs. The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. The central reason of the popularity of eastern religions in the west is a hope for a non-rational meaning to life and values. The reason the young people turn to eastern religions is simply the fact as we have said and that is that man having moved into the area of non-reason could put anything up there and the heart of the eastern religions is a denial of reason just exactly as the idealistic drug taking was. So the turning to the eastern religions today fits exactly into the modern existential methodology, the existential thinking of modern man, of trying to find some optimistic hope in the area of nonreason when he has given up hope on a humanistic basis of finding any kind of unifying answer to life, any meaning to life in the answer of reason.
Beatles in India
The Beatles with the Maharishi Mahesh Yogi (center) sometime before their trip to India
Jane Asher
_________
Featured artist today is Peter Max
Day at Night: Peter Max, artist
Concerning the film YELLOW SUBMARINE Wikipedia noted:
The film’s surreal visual style, created by creative director Heinz Edelmann, contrasts greatly with the efforts of Disney Feature Animation and other animated films previously released by Hollywood up until the time. The film uses a style of limited animation. It also paved the way for Terry Gilliam‘s animations for Do Not Adjust Your Set and Monty Python’s Flying Circus, as well as the Schoolhouse Rock vignettes for ABC and similar looking animation in early seasons of Sesame Street and The Electric Company.
Though it is disputed whether Peter Max had anything to do with it, he makes this claim in a 2012 interview in Westchester Magazine: “I was very, very close friends with The Beatles, and they were going to make a movie. I remember getting a call from John, saying they wanted me to do it. So I designed it. And then I flew to Europe and found out that they wanted me to stay in Europe for seventeen months and make the whole film. I said, ‘I can’t.’ I had a fifteen-month-old boy and my wife was going to give birth to another kid in four or five months, and I was not going to stay away for a whole year. There was an artist in Europe, in Düsseldorf, Germany, named Heinz Edelmann, who called himself ‘the German Peter Max.’ I called him and gave him the opportunity to do the film. When I met him and he gave me his card that said ‘Heinz Edelmann: The German Peter Max,’ I said, ‘Heinz, I don’t mind if you copy my work, but please don’t copy it exactly and please take my name off of your card.’”[13] The film’s mise en scène has also been compared to 20th Century German draftsman and outsider artist Friedrich Schröder Sonnenstern, whose paintings were considered by many to have been nurtured by psychosis.[14]
Peter Max Captures the Spirit of Miami
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Artist Peter Max has captured everyone and everything from the Dalai Lama to the Beatles to the spirit of Miami in his psychedelic cosmic style. Exclusively for Ocean Drive, he interprets the Magic City, while the hosts of MSNBC’s Morning Joe, Joe Scarborough and Mika Brzezinski, discover the colorful stories—and the man—behind the masterpieces.
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Peter Max with his Ocean Drive cover, done in the artist’s signature “cosmic style”One of the most prolific artists working today, Peter Max is widely known for his “cosmic style,” with creations that have been seen everywhere from the hull of Norwegian Cruise Line’s Norwegian Breakaway and a Continental Airlines Boeing 777 fuselage to the massive stages of the 1999 Woodstock music festival. His mixed-media works can be found in the collections of six past US presidents, while his art—recognizable for its energetic brushstrokes of primary colors and psychedelic panoramas of stars, planets, profiles, and icons from Lady Liberty to the Beatles—has been used to represent five Super Bowls, the World Cup, the World Series, the US Open, the Grammys, and the Rock and Roll Hall of Fame. “I’m just very happy to be in the middle of all this,” says Max of his many accomplishments. “I’m happy to do all the painting and have all the museum shows.”
Born in Berlin and raised in Shanghai, Max and his family moved around the globe, from Tibet to Israel to Paris, with each destination influencing his art. Eventually, Max settled in New York, where, at age 76, he continues to produce a dizzying array of works, including this Ocean Drive cover, one of a collection of 10 covers created exclusively for Niche Media publications that also includes LA Confidential, Gotham, Hamptons, Aspen Peak, and Michigan Avenue. The original painting will be auctioned on Charitybuzz starting this month to benefit The Humane Society of the US. “I paint and draw every day, and I loved creating this cover art for Ocean Drive,” says Max. “I went through files of my drawings to choose the right inspiration for this cover. I love nature and creating landscapes that are natural and yet fantasy, with colorful skies, clouds, and cosmic characters. I featured South Beach’s iconic lifeguard stands, palm trees, Art Deco hotels, beach and sea, and the nature all around, and gave them all my colors in this cosmic landscape.”
Related: Watch Peter Max talk about his commissioned cover artwork and more with Mika Brzezinski>>
Well-used paintbrushes attest to Max’s ceaseless creativityIn his studio—two full-floor lofts near New York’s Lincoln Center—Max has galleries’ worth of his work: a towering portrait of the Statue of Liberty he painted on the White House lawn for President Ronald Reagan in 1981; a multicolored Baldwin piano signed by his pal Ringo Starr; rows of Lucite sculptures taken from his “Angel” series; a painted guitar originally made for Jon Bon Jovi; and portraits of everyone from Marilyn Monroe to John F. Kennedy, all done in Max’s distinctive style. “When you’re a singer and you have a really great voice, it’s not like you create a voice—it’s just there. My art is just there,” says Max. “I just put the brush on paper and I don’t even know what I’m doing, but I know it’s going to come out great. Twenty-four seven, creativity, creativity, creativity—it’s all I do. I draw on airplanes, I draw in limousines, I draw when I wake up in the morning, and in taxicabs.”
Beyond the studio, Max is a longtime vegetarian and practices yoga and meditation daily—a part of his routine for more than 40 years. He also gives freely of his time, money, and art to benefit animal charities such as The Humane Society of the US and the equine rescue organization Wild for Life Foundation, and works for conservationism. “Nature itself is the most beautiful and creative work of art, and we should do all that we can to protect it for future generations,” says Max. “As an artist, I visualize our cities with gleaming skyscrapers, beautiful trees and flowers, and clean color-blended skies. But it’s up to us as individuals to live a more sustainable lifestyle and help keep our cities and countries green.”
Ringo Starr and Todd Rundgren at a Peter Max painting exhibit.
Related: Own a piece of Peter Max cover art and give back>>
Artist Peter Max in the early days of his career, in New York, 1967By his side in all of it is his wife of 17 years, Mary Max, whom the artist calls “one of [his] greatest inspirations.” “When I met her, it fueled me, and she still fuels me today, quite a few years later,” he says of his wife, whom he spotted one day while out for coffee and declared he would marry at first sight. “We donate money left and right, we have events up [in the studio] all the time, and we have six rescue animals of our own at the house.”
At the present, Max also has seven feature film and animation projects in the works, including one yet to be announced for the estate of Frank Sinatra. Here, in celebration of Max’s 50 years of commercial success and his collection of city renderings exclusively for Niche Media, the artist opens up to MSNBC’s Joe Scarborough and Mika Brzezinski about his unparalleled career, his spirituality, philanthropy, and the famous friends who have helped influence his work.
Behind the Brushstrokes
MSNBC’s Joe Scarborough and Mika Brzezinski at Max’s custom Baldwin piano signed by Ringo Starr; in the background are works from the artist’s “Flower Blossom Lady” and “Abstract Flowers” seriesJOE AND MIKA: Many artists will agree that it’s a struggle to gain recognition, but to keep it and have it last 50 years is staggering. What do you think is the key to your success?
PETER MAX: It’s just being present, letting creativity come through. I’m also really lucky because we live in an age of media. It used to be, when I was on the cover of Life magazine 45 years ago, there were only three magazines—Time, Life, and Fortune. My art got to be on two of those covers. Today there are thousands of magazines out there, and my work has been on 2,000 to 3,000 covers.
Early in your career, you studied a lot of the masters, from Rembrandt to Sargent. So how did you develop your cosmic style?
I always used to draw never even thinking that drawing is something you could do [as a career] once you became an adult. In China, I studied with the 6-year-old daughter of a street artist. Then in Israel, my mother hooked me up with a famous art professor from Austria. After we left Israel and moved to Paris, my mother signed me up for the classes for kids at the Louvre. And when we came to America, I found a private teacher, Frank Reilly [at the Art Students League of New York]; after high school, I used to go into the city and I studied with him. Frank Reilly went to that school 30 years earlier, and the kid who used to sit beside him was Norman Rockwell. So Norman Rockwell and Frank Reilly studied together and Rockwell became Rockwell; Reilly became Peter Max’s teacher. Then I hooked up with some people with certain art schools who were very design oriented.
Max’s work has appeared on thousands of magazine covers. “I’m really lucky because we live in an age of media,” he saysFor someone who studied realism, your painting style is not necessarily realist.…
No, I’m kind of impressionistic. Realism gave me the skill to paint, but my eye was more into design-ery art.
The Art Students League has produced some famous alumni, including Jackson Pollock and Cy Twombly. Ever have any celebrity encounters?
I once met Marilyn Monroe. The steps to the street were very narrow, and some of the students used to sit on the steps. I sat there one day with a friend of mine and I see this girl walking by, and I did a double take. I said to my friend, “It’s Marilyn Monroe,” and as she’s walking by, she turns to me and says, “I like your pants”—I had a lot of paint on my pants—and then she kept on walking. She was so stunning; all her features were just perfect.
I Get By with a Little Help from My Friends
This “Love” image from the 1960s was inspired by the spirit of the decade and is among Max’s best knownPeople will recognize your paintings of the Statue of Liberty or the “Love” series, but what do you think your most defining piece is?
There are so many defining pieces. Painting the Statue of Liberty was a big thing because it’s an emblem; it’s the symbol for the United States of America, so it got so much [attention]. Then I’ve painted so many unbelievable people, like the Dalai Lama, John F. Kennedy—close to 800 portraits.
Posing with Larry King in front of a Peter Max painting in honor of King’s 50 years of broadcasting, at The Four Seasons Restaurant in New York in 2007You’ve also painted portraits of all of the Beatles, who also just celebrated 50 years in America. Tell us more about your relationship with the band.
I met John [Lennon] way, way back, and I was best friends with Yoko Ono. One day I read in the paper that my little friend Yoko was going out with John. I knew John, I knew Yoko; I could have introduced them in a second. I used to go pick both of them up at the Dakota where she lives, and we used to go to Central Park. We used to walk around and bullshit and talk and sing songs.
Here in your studio, you have a colorful piano that’s signed “To Peter, Love Ringo….”
I did a Baldwin piano for Ringo Starr, and he loved it. Then Baldwin called me up and said, “We love it so much, we’re going to send you a piano.” Two days later, they deliver it, the guys assemble it, and I roll out my paints and start painting the piano beautiful colors. Just as I’m finishing, my girl comes from the front desk and says, “Your buddy Ringo is here.” Ringo had been uptown and wanted to say thanks; instead he said, “I like yours better!” and I said, “No, Ringo, yours is the first; it’s the nicest.” He asked if I had paints and I said, “Do I have paints?” We roll out a cart of paints, and he writes, “To Peter, love Ringo,” followed by a star.
Signing the Baldwin piano he painted for Ringo StarrThere’s a photo right on top of you and Ringo. Was it another famous Beatle, Paul McCartney, who turned you on to vegetarianism?
Paul and I became vegetarian at the same time. I’ve been a vegetarian now for over 40 years. I’ve had everybody up here in the studio—from Mick Jagger a couple of times to Ringo Starr to Paul McCartney—they’ve all been up here, they’re all my friends. We hang out; I’ve been very lucky.
Is it true that you also have a DJ who works here in your studio?
Yes—Joe. I have two or three radio stations I like, and he has certain CDs he’s made for me. He plays for me all good contemporary music—jazz, bebop, fusion jazz, certain rock ’n’ roll. When I start painting, the music is on and I’m just in the groove. Music inspires my whole will to paint, the will to be creative—it fuels the creativity.
Max created a series of portraits of Sir Paul McCartney for his longtime friend’s 70th birthdayYou worked with George Harrison on the Integral Yoga Institute, a yoga center and ashram in New York’s Greenwich Village based on the teachings of Sri Swami Satchidananda, whom you brought to America in 1966. Was it George who introduced you to the Swami?
No, George was involved with the Maharaji out of England. George and I talked about my Satchidananda and his Maharaji, and we introduced each other to the other guys. The institute teaches how to go into meditation, get your mind focused, do stretching, become a vegan—a lot of health, behavioral, and mental benefits that have changed my whole life.
Max with his family in NYC in 1967How did you first meet Swami Satchidananda?
Conrad Rooks, who was the heir of Avon cosmetics—he was a billionaire kid—called me one day when I was still in my early 20s, and he wanted me to come to Paris to help him with the colors on a film he was going to make. A day or two later, I pack a little bag, my driver drops me off at Kennedy Airport, and I go to Paris. Conrad picks me up from the airport and we’re hanging out in the restaurant at the hotel that he’s staying in, and then in comes the Swami—long beard, beautiful long black hair, gorgeous eyes—and Conrad introduces me to him. After spending a day with the Swami, I knew I had to bring him to New York. All my hippie buddies were taking LSD, and I was thinking, This is the man we need to be with, not this other stuff. I brought him to America and I opened yoga centers for him.
New York, 1967
The Best is Yet To Come
Over your career, you’ve accomplished so much. Is there something—a goal—you have yet to achieve?
I’ve been listening to music very intensely my whole life, but especially in the last 36 months because I’ve been collecting music for seven feature films and animation. Characters and stories—I have so many; the only thing I hadn’t collected was music, so I called my friends—Paul McCartney, Ringo Starr, Bon Jovi—everyone I knew. Out of 200,000 pieces of music, I selected about 3,000 or 4,000 that I adore.
Have you ever thought about retiring?
I’ve been retired since I was 20. [Laughs] Retiring is getting to do completely what you love, right? It’s not like sitting in a chair somewhere. This is a nice life—it’s creative, colors, music, and people. I love it.
Read more at http://oceandrive.com/personalities/articles/peter-max-captures-the-spirit-of-miami#8S8mYuBmUMolA34K.99
Peter Max
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This article contains content that is written like an advertisement. (June 2011) |
| Peter Max | |
|---|---|
| Born | Peter Max Finkelstein October 19, 1937 Berlin, Germany |
| Nationality | American (United States) |
| Education | Art Students League of New York |
| Known for | Painting, pop art |
| Notable work | LOVE (1968) |
| Movement | Pop art |
Peter Max (born Peter Max Finkelstein, October 19, 1937) is a German-born American illustrator and graphic artist, known for the use of psychedelic shapes and color palettes as well as spectra in his work. At first, works in this style appeared on posters and were seen on the walls of college dorms across America. Max then became fascinated with new printing techniques that allowed for four-color reproduction on product merchandise. Following his success with a line of art clocks for General Electric, Max’s art was licensed by 72 corporations. In September 1969, Max appeared on the cover of Life magazine, The Tonight Show Starring Johnny Carson and The Ed Sullivan Show.[1]
Childhood[edit]
In 1938, Max’s parents fled Berlin, Germany, his place of birth, to escape the fomenting Nazi movement, settling in Shanghai, China, where they lived for the next ten years. In 1948, the family moved to Haifa, Israel where they lived for several years. From Israel, the family continued moving westward and stopped in Paris for several months—an experience that Max said greatly influenced his appreciation for art.
The 1950s[edit]
Peter and his parents first settled in Bensonhurst, Brooklyn in 1953 where he attended Lafayette High School (New York City), where he was classmates with future actor Paul Sorvino. In 1956, Max began his formal art training at the Art Students League of New York in Manhattan, studying anatomy, figure drawing and composition under Frank J. Reilly who had studied at the League alongside Norman Rockwell.[1]
The 1960s[edit]
In 1962, Max started a small Manhattan arts studio known as “The Daly & Max Studio,” with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max’s interest in astronomy contributed to his self described “Cosmic ’60s” period, which featured what became identified as psychedelic, counter culture imagery. Max’s art was popularized nationally through TV commercials such as his 1968 “un cola” ad for the soft drink 7-UP which helped drive sales of his art posters and other merchandise.[2] He appeared on The Tonight Show on August 15, 1968.[3] He was featured on the cover of LIFE magazine‘s September 5, 1969 edition under with the heading “Peter Max: Portrait of the artist as a very rich man.”[4]
The 1970s[edit]
U.S. postage stamp featuring Max’s artwork commemorating Expo ’74
In 1970, many of Max’s products and posters were featured in the exhibition “The World of Peter Max,” which opened at the M.H. de Young Memorial Museum in San Francisco.[5] The United States Postal Service commissioned Max to create the 10-cent postage stamp to commemorate the Expo ’74 World’s Fair in Spokane, Washington, and Max drew a colorful psychedelic scene with a “Cosmic Jumper” and a “Smiling Sage” against a backdrop of a cloud, sun rays and a ship at sea on the theme of “Preserve the Environment.”[6] July 4, 1976, Max began his Statue of Liberty series leading to his efforts with Chrysler CEO Lee Iacocca to help in the restoration of the statue.[7]
In 1976, Peter Max Paints America were commissioned by the ASEA of Sweden. The book project commemorated the United States Bicentennial and included the following foreword: “Peter Max Paints America is based on works of art commissioned by ASEA of Sweden on the 200th anniversary of the founding of the United States of America, in sincere recognition of the historic bonds of friendship between the people of Sweden and the people of the United States, recalling that Sweden was one of the first countries to extend its hand in friendship to the new nation.”[8]
The 1980s to present[edit]
One of Max’s art galleries, at The Forum Shops at Caesars in 2008
Max has been the official artist for many major events, including the 1994 World Cup, the Grammy Awards, the Rock and Roll Hall of Fame, the Super Bowl and others.[1] In 2000, Max designed the paint scheme Dale Earnhardtdrove at the Winston all-star race, deviating from Earnhardt’s trademark black car.[9] He was also the Official Artist of New York City’s 2000 Subway Series, the World Series of Major League Baseball, between the New York Yankees and the New York Mets.[10]
Max first painted Taylor Swift’s portrait as a gift to the singer for her Grammy-winning album Fearless & Speak Now, and has recently painted new portraits of Taylor Swift to commemorate her worldwide success.[11]
Max is on the Board of Selectors of Jefferson Awards for Public Service.[12]
In 1990, Max purchased a collection of Chevrolet Corvettes for an intended art project,[13]but never used them and let them rot in a series of garages.[14]
In 2012, he was chosen to paint the hull art of the New York themed ship Norwegian Breakaway by Norwegian Cruise Line[15]
Work[edit]
Max’s art work was first identified as having been a popular part of the counter culture and psychedelic movements in graphic design during the late 1960s and early 1970s. He is known for using bursts of color, often containing much or all of the visible spectrum. His work was both influenced by, as well as widely imitated by, others in the field of commercial illustration, such as Heinz Edelmann. Max’s repeated claims, varying in detail, to have worked on “Yellow Submarine” have been denied by the production team.[16]
Max works in multiple media including painting, drawing, etchings (including aquatint), collage, print making, sculpture, video and digital imagery. He also includes “mass media” as being another “canvas” for his creative expression.[1] Max often uses American icons and symbols in his artwork. He has created paintings of presidents Ford, Carter, Reagan and Bush in addition to his 100 Clintons—a multiple portrait installation. He often features images of celebrities, politicians, athletes and sporting events and other pop culture subjects in his artwork.[1]
One of Continental Airlines‘ Boeing 777-200ER aircraft (registered N77014) sported a livery designed by Max.[17]
His artwork was featured on CBS’s The Early Show where his “44 Obamas,” commemorating the 44th President of The United States, was debuted.[18]
Harper Collins in 2013 published a book of the artist’s memoirs and thoughts called “The Universe of Peter Max.” In it, he relates stories of his life as well as descriptions and thoughts surrounding of some of his artwork.[19]
Personal life[edit]
Max is an environmentalist, vegan and defender of human and animal rights.[20][21]
In 2002, Max offered to provide a life of green fields for Cinci Freedom, a cow that escaped from an Ohio slaughterhouse. The cow jumped over a six-foot fence while the slaughterhouse workers were on break and she eluded capture for eleven days. Max donated $180,000 worth of his art to benefit the local Society for the Prevention of Cruelty to Animals, to ensure the cow a long life of peace at Farm Sanctuary in Watkins Glen, New York.[22]
Max currently lives in New York City with his wife, Mary.
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