Declaring Space: Mark Rothko, Barnett Newman, Lucio Fontana, Yves Klein
by Michael Auping
from Prestel Publishing
The evolution and philosophy of color field painting, as revealed by four masters of the movement.
Developed at the tail end of the abstract expressionist movement, color field painting is distinguished by pure, unmodulated areas of color, flat, two-dimensional space, and large, often irregularly shaped canvases. The genre is often associated with American painting, but was actually embraced by an international group of artists. Four of the most exciting of those practitioners are the focus of this penetrating study. Michael Auping sees the work of each of these artists as representing a different stage in the development of abstract painting in the 1950s and 1960s. He comments, "To my mind Rothko draws back the curtains, if you will, on the opening up of this space. Newman emphatically `declares' an almost totemic space, while Fontana literally slices through the picture's plane with a razor, and Klein, as he pronounced it, leaps into the void." Illustrated with color images of the artists' seminal works, Declaring Space shows how each painter made his own individual mark in a new realm of abstract art.
Barnett Newman
from Yale University Press
Barnett Newman (1905-1970) was one of the most profound and influential artists of the twentieth century. A master of expansive spatial effects and evocative color, he pioneered painting that was both abstract and emotive, suffused with powerful philosophical and spiritual meaning. This landmark book surveys the breadth of Newman's career from his founding role in the New York School in the 1940s to his key influence on both minimalism and conceptual art in the 1960s. Featuring more than 100 of his paintings, drawings, prints, and sculptures, the book also offers significant new scholarly findings based on the archives of the Barnett Newman Foundation. Despite the apparent simplicity of his signature, the "zip," Newman's art is richly complicated and unexpectedly diverse. His works include such masterpieces as Onement 1 (1948), the series Stations of the Cross (1958-66), and the monumental sculpture Broken Obelisk (1967). Each work of art in this book is reproduced in full color and accompanied by its own entry. A comprehensive chronology of the artist's life based on new documentation, a selected bibliography, and a selected exhibition history complete the volume.
Reconsidering Barnett Newman
from Philadelphia Museum Distribution
The essays collected in Rediscovering Barnett Newman discuss the artist’s famous “zip,” his late series of paintings “The Stations of the Cross,” the temporal aspect of his works, his painting technique, and his sculptural oeuvre, among other topics. As a whole, this wide-ranging collection provides new perspectives on one of the twentieth century’s greatest artists, whose work continues to inspire and to speak to contemporary audiences.
This collection presents the latest scholarship on the art of Barnett Newman, one of the twentieth century’s most inspirational artists. Distinguished participants in the Philadelphia Museum of Art’s recent symposium offer fresh perspectives on Newman’s achievements as a theoretician and innovator, and on his themes, techniques, and significant works.
Barnett Newman: A Catalogue Raisonne
by Richard Shiff
from Other Distribution
Barnett Newman (1905–1970), one of the greatest artists of the twentieth century, has captivated critics, scholars, and the general public for decades. This highly anticipated catalogue raisonné presents Newman’s entire oeuvre—paintings, drawings, sculpture, graphics, an architectural model, lost and unfinished works, and ephemera—in one stunning and definitive volume. Featured elements include color reproductions of unparalleled quality; extensive provenance, exhibition, and publication histories; and a listing of the contents of the artist’s library at the time of his death.
In addition to the catalogue raisonné prepared by Heidi Colsman-Freyberger, the book offers revelatory essays on the artist, his career, and his working methods and features fascinating photographs of Newman, his studios, and his installations. Richard Shiff draws on new documentation to explain why Newman chose to create abstract art, how he achieved “fullness” in his paintings, and how his works exemplify the social functions of an artist. Carol C. Mancusi-Ungaro reveals extraordinary details about Newman’s studio practice and materials and techniques, information not available to the public before because Newman only allowed his wife to observe him at work. Mancusi-Ungaro also discusses the fate of works that were damaged while traveling to exhibitions or by vandals.
Produced and designed to the highest possible standards, this magnificent catalogue raisonné is a critical purchase for anyone interested in twentieth-century art.
Newman, Rothko, Still: Search for the sublime
Barnett Newman: Selected Writings and Interviews
by Barnett Newman
from University of California Press
Barnett Newman's writings reveal him to be an impassioned and articulate analyst of art and society who never hesitated to make his views known and always stood by them. To understand Newman's unique place in the culture of the twentieth century, we must know both his paintings and his words--a knowledge made possible by this long-awaited volume.
"Barnett Newman [1905-1970] was a thinker who chose to develop his ideas both in painting and in writing. He was also a citizen who made his acts of painting and writing political. And he was an artist."--Richard Schiff, from the Introduction
Barnett Newman: The Stations of the Cross: Lema Sabachthani
by Barnett Newman
from Richter Verlag
From 1958 to 1966, master color field painter Barnett Newman created The Stations of the Cross - Lema Sabachthani, a cycle of fourteen canvas paintings, each of them 5 x 6 1/2 feet. Their scale is so large that the viewer is never able to take them all in at once. With The Stations of the Cross, Newman undertook one of the most demanding assignments in the history of modern art, namely to thematize, without the use of color and only in black and white, the tragedy of human existence vis-Ã -vis an almighty God--bringing it to new pictorial form. Accompanying texts consider the thematic content of the work, as well as the series' inaugural hanging in 1966 at the Guggenheim Museum in New York.
Een subliem gevoel van plaats: Een filosofische interpretatie van het werk van Barnett Newman
Creations of mystics and philosophers: The white man's perceptions of Northwest Coast Indian art from the 1930's to the present
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