Barnett Newman

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Newman, Barnett,

1905–70, American artist, b. New York City. A member of the New York school, Newman was one of the first to reject conventional notions of spatial composition in art. Often using monumental scale, he took abstraction to its farther reaches. In his severe Stations of the Cross series (1958–66), he divided raw canvas vertically at intervals by black or white bands of various widths. In other paintings (e.g., Who's Afraid of Red, Yellow, and Blue IV?, 1969–70) Newman used large areas of saturated, sometimes primary color punctuated by narrow vertical bands of other colors that he called "zips" as the source of visual and emotional impact. Newman became known as a major painter in the last decade of his life, and his work was an important influence on the practitioners of color-field paintingcolor-field painting,
abstract art movement that originated in the 1960s. Coming after the abstract expressionism of the 1950s, color-field painting represents a sharp change from the earlier movement.
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. He also created a number of monumental abstract sculptures.


See study by T. B. Hess (1971).

Newman, Barnett

(1905–70) painter, sculptor; born in New York City. He studied at the Art Students League (1922–26), and joined his father's clothing manufacturing business (1927–37). He lived in New York City, and by 1944 began his series of cosmic landscapes using stripes, circles, and color divisions, as seen in Genetic Moment (1947). He was one of the founders, along with William Baziotes, Mark Rothko and Robert Motherwell, of an art school, Subjects of the Artist, New York (1947). A leader of color-field painting, as seen in Onement I (1948), he stressed the use of color and mythology. His sculptures have a classical composure, as in Broken Obelisk (1967).
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The Horizon edition of Memoirs of a Revolutionist also contained an introduction to Kropotkin's thought by activist Paul Goodman, who had spent the 1960s promoting anarchism as an alternative to Cold War liberalism and Soviet communism, and a foreword by American painter Barnett Newman, who professed the importance of Kropotkin's work to his own intellectual development.
The second, Barnett Newman, a mainstream modern artist, was included by the author because Newman's writing cited Native American art as a resource and model for American modernism.
In "Kierkegaard, History, and Modern Art," Armstrong establishes connections between Kierkegaard's notion of "coming-into-being" and the attempts of Kasimir Malevich, Barnett Newman, and Ad Reinhardt to approximate the divine in two-dimensional non-objective painting.
Strickland's chapters on the visual artists center on Robert Rauschenberg, Ad Reinhardt, Barnett Newman, Ellsworth Kelly, and Frank Stella, highlighting the important works and techniques associated with each, but overwhelming the reader with details.
Annie Proulx, or composers such as Leonard Bernstein, Aaron Copland, and George Gershwin, or artists such as Georgia O'Keefe and Barnett Newman.
Just what the hell is Barnett Newman driving at -- and why should he get several million dollars for it?
In the world according to Barnett Newman, sculpture was characterized as what you bump into when you back away from a painting to get a better look.
It's hard to imagine Kazimir Malevich, Reinhardt, Barnett Newman, et ah, or their collectors, being so collaborative.
Unlike the great east coast Abstract Expressionists--such as Mark Rothko, Barnett Newman, and Willem de Kooning--Diebenkorn, despite being the most famous west coast painter of his era, remains relatively unknown in this country.
Among other significant works produced by various artists that year, Pollock painted four of his greatest works and Barnett Newman completed his monumental "Vir Heroicus Sublimis.