Barnett Newman

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Barnett Newman, 1905-–1970) was an American artist.

He is widely known as one of abstract expressionism's most influential painters and one of the top painters in the color field.

His paintings are distinctly conceived in tone and content, and with the intention of promoting a sense of place, presence, and contingency.

Early life

Barnett Newman was born in New York City, Poland's son of Jewish immigrants. He studied philosophy at the City College of New York and spent time in his father's company manufacturing clothing. He later worked as a teacher, editor, and critic. He painted paintings from the 1930s to the present day, but these paintings were later destroyed. When both were working as substitute teachers at Grover Cleveland High School, the Newman met Annalee Greenhouse in 1934; they were married on June 30, 1936.

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Career

Before becoming a member of the Uptown Group and having his first solo exhibition at the Betty Parsons Gallery in 1948, Newman wrote catalogs, essays, and also organized exhibitions. In one of the Artists' Session at Studio 35, Newman remarked, "We are in the process of making the world, to a certain extent, in our own image." Newman fought to promote his work while still establishing his new image as an artist and market his book by using his writing skills. An example is his letter from April 9, 1955, "Letter to Sidney Janis": "It is true that Rothko talks the fighter." He fights, however, to submit to the philistine sphere. The complete rejection of it has been central to my resistance against bourgeois society.

He began working in a surrealist vein in the 1940s before he developed his signature style. As Newman put it, areas of color are separated by thin vertical lines, or "zips." The color fields are variegated in the first works with zips, but the shades are crisp and flat later in the series. With the Onement series (from 1948), the Newman himself believed he had achieved his absolutely unique, signature style. The zips determine the painting's spatial layout, while simultaneously dividing and uniting the composition. The fire in Newman's paintings are 'flashing light of a nuclear explosion and the old testament pillar of fire,' according to Art Historian April Kingsley, mixing the complexities of romantic sublime with depiction of violence and transcendence. Barnett Newman, a 1944-19man, tried to introduce America's newest art movement, as well as a rundown of "the guys in the new movement." Wolfgang Paalen Paalen Paalen is mentioned twice in the book Along with Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky, and others. With a question mark, Motherwell is listed. Throughout Newman's life, the zip remained a constant feature of his work. The zip is all there is to paintings from the 1950s, such as The Wild, which is eight foot tall by one and a half inches wide (2.43 meters by 4.1 centimeters). A few sculptures by Newman were also made that are essentially three-dimensional zips.

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Though Newman's paintings tend to be abstract, and most of them were unidentified, the names he later gave them hinted at specific topics being addressed, often with a Jewish theme. Adam and Eve are two paintings from the early 1950s, for example. There's also Uriel (1954), and Abraham (1949), a very dark painting that, in addition to being the name of a biblical patriarch, was also the name of Newman's father, who died in 1947.

The Stations of the Cross series of black and white paintings (1958–1966), which began shortly after Newman recovered from a heart attack, is often regarded as the pinnacle of his career. According to the New Testament, Lema sabachthani – "Why have you forsaken me" - the last words spoken by Jesus on the cross. In his own time, the newman saw these terms as having universal significance. The series has also been seen as a tribute to the victims of the Holocaust.

Anna's Light (1968), one of Newman's late works, is his largest work, 28 feet wide by 2.8 meters), titled "Who's Afraid of Red, Yellow, and Blue series, and the Who's Afraid of Red, Yellow, and Blue series, which was created in honor of his mother, who died in 1965, is his oldest work, 28 feet high by 8.5 feet tall (8.5 by 2.8 meters). With Chartres (1969), for example, being triangular and returning to sculpture, a newman worked on shaped canvases late in life, making a limited number of sleek steel canvases. These recent paintings are painted in acrylic paint rather than the oil paint of earlier works. Broken Obelisk (1963), one of his sculptures, depicts an inverted obelisk whose point balances on the apex of a pyramid.

According to Newman, the 18 Cantos (1963–64), which are supposed to be evocative of music, are also a series of lithographs. He also made a limited number of etchings.

William Baziotes, Mark Rothko, Robert Motherwell, and David Hare, a 1948 Newman, established the Artist School on 35 East 8th Street. The art school had flourishing lectures with speakers such as Jean Arp, John Cage, and Ad Reinhardt, but the art school was dissatisfied financially and closed in the spring of 1949. On account of his time in New York City in the 1950s, he was involved with other artists of the group and developed an abstract style that owed little or nothing to European art. However, his rejection of the expressive brushwork of other abstract expressionists, such as Clyfford Still and Mark Rothko, as well as his use of hard-edged areas of flat color can be seen as a precursor to post painterly abstraction and artist Frank Stella's minimalist paintings.

For a large portion of his life, Newman was unappreciated as an artist, but he was ignored in favour of more colorful characters, such as Jackson Pollock. Clement Greenberg, the influential writer, wrote a ferocious review of him, but it wasn't until his death that he was considered seriously. However, he had a huge influence on many younger artists, including Donald Judd, Frank Stella, and Bob Law.

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