peter marino architect new york high school

#PETER MARINO ARCHITECT NEW YORK HIGH SCHOOL HOW TO#

ĪMCDYou do have a wildly impressive and hugely diverse collection. I travel a lot so I get a little mixed up from time zones. PMJust last Monday night there was a beautiful Gauguin up for auction and I thought it was happening on Tuesday night. But the reason I said the Prado is Velázquez.ĪMCDPeter, in your collecting life, what was the one painting that got away? I mean, are you kidding? They’re better than the Titians in Venice. The Titians in the Prado-I still haven’t recovered, and I visit them like once a year. PMI’m going to second that because of the Titians that fill up those Spanish collections. YZKMy favorite museum has always been the same since I visited it as a teenager: the Prado in Madrid. It’s still a favorite memory of mine anyway.

#PETER MARINO ARCHITECT NEW YORK HIGH SCHOOL HOW TO#

PMHe tried to show me how to use the knife, but I said, “I don’t think I want to”-it was an early childhood trauma. All I remember is running out of the shop. I guess I was five when he put a meat cleaver in my hand and told me to chop. A lot of my lessons in life came from him. He was very hard working and he had shops up and down Second Avenue. PMWell, yes, I do, it’s a necklace of a butcher’s meat cleaver. And so I’m going to ask you if you have a favorite object.

To get to that initial sensation I have to go through a long process of gradually breaking down and then building back up again.ĪMCDIn terms of your process, Peter, when you start working with new clients in your architectural practice, you often ask them if they have a favorite object as a way to inform the work you do for them. When you think about anyone’s face, it’s always somehow hazy. That goes through many layers of paint, and at the end it always feels sort of elusive, almost like I can’t get to it. YZKIn painting a face, what I really try to achieve is the sensation that I have of a face, the experience of that face. So that’s absolutely true.ĪMCDKami, when you’re painting a portrait, like the one you made of Peter, you seem to be seeking the essence of a person, trying to capture the spirit of that individual. That’s the way Kami painted me, it was very interesting. My mom was blonde, Austro-Hungarian from Slavic background, and very, very fair skinned and light. PMAlmost everybody thinks of me with black hair and the dark look of my dad. His reaction was very touching, I’ll never forget it: he stared at the painting for a long time and then he said, “I am my mother’s son.”

YZKWhen I finally finished the portrait, Peter came to see it at my studio. His portraits of Tara, his niece-those are incredible. PMKami’s portraits can be really intense. Imagine living with his image on and off for several years-it actually made me feel closer to him. I’m not sure why, some paintings just take longer than others. It took a long time to build the Pantheon in Rome, too, I suppose, but both were worth the wait. PMThat painting took a very, very long time for Kami to paint, but it’s remarkable. She has said it’s the most serious portrait ever done of me.ĪMCDKami often depicts sitters with their eyes closed. He did my portrait, in fact it’s Jane’s favorite portrait of me. The portraiture I like because of the psychological intensity behind it.

PMOh, I like them both, but for different reasons.

I really have known you a long time.ĪMCDIn general, do you have a preference toward Kami’s portraiture or his abstract paintings? YZKThey were photographic images of two minarets in Iran that I mounted on canvas. PMI have two photographic works of towers from the early 1990s. YZKIt was around the time Isabelle was born.ĪMCDPeter, what struck you early on about Kami’s work? That’s the only marker I’ve got other than when I graduated high school. Peter Marino Was Isabelle born yet? She was born in 1991-that’s how I judge time, pre-Isabelle and after. One evening Peter and his wife, Jane, came over and we all went out to dinner to an Italian restaurant in TriBeCa. Kami We met in the early 1990s through a very close mutual friend, Charles, with whom I used to share a studio. How did you and Peter first meet each other? Alison McDonald I’m curious to start at the beginning.

Peter marino architect new york high school