Artists/Barnett Newman

Barnett Newman, a pivotal figure in Abstract Expressionism, unveiled a groundbreaking concept in his 1948 work "Onement I," introducing what would become a defining feature of his art: the "zip." This vertical band, traversing the upper and lower edges of the canvas, not only marked a radical departure in his creative journey but also became a signature motif across his oeuvre. Newman's zips, cutting through fields of color in minimalist compositions, pushed him into the spotlight as a key influencer of both Color Field painting and Minimalism. Despite the transformative nature of the zip, Newman's approach was deeply personal, aiming to encapsulate the essence of being and individuality through his art​ (The Museum of Modern Art)​.

Onement I was hailed by Newman as a critical breakthrough, symbolizing "the beginning of my present life." The work's modest size belies its significance, with a vertically applied strip of cadmium red, known as the zip, bringing about a profound exploration of space, color, and the relationship between figure and ground. This simple yet potent gesture was intended to distill painting to its core elements, a mission Newman pursued throughout his career, envisioning his paintings as revelations that transcend historical context to connect on a universal level​ (The Museum of Modern Art)​.

Newman's philosophical and conceptual explorations extended beyond the visual to engage with the spiritual, drawing parallels between his zips and the quest for the sublime found in Byzantine and Renaissance religious art, as well as in the works of Romantic painters. By eliminating traditional representations, Newman sought to offer direct access to spiritual experiences, positioning his work as a modern counterpart to these historical endeavors to evoke the divine. His abstract compositions, devoid of figurative elements, invite viewers into a contemplative space where one can confront existential realities and the profound connections between self, others, and the universe​ (TheCollector)​.

His abstract works, often named after Jewish themes or biblical figures, reflect a deep engagement with spiritual and religious motifs, embedding a layer of meaning that connects his modernist approach to a longer tradition of sacred art. This strategy not only reinforced the spiritual undertones of his work but also offered a nuanced critique of idolatry, suggesting a form of abstract painting that could evoke the sacred without violating traditional prohibitions against images. Through his innovative use of the zip and his philosophical explorations of space and color, Newman contributed profoundly to the evolution of post-war American art, bridging the gap between Abstract Expressionism and the nascent Minimalist movement​ (The Art Story)​​ (DailyArt Magazine)​​ (TheCollector)​.

Barnett Newman is renowned for his significant contributions to Color Field Painting, a movement that emerged as a vital force within Abstract Expressionism in the mid-20th century. This movement was characterized by large expanses of unbroken color aimed at creating an immersive experience, prioritizing emotion and presence over figuration or detailed narrative. Newman's innovation of the "zip," a distinct vertical stripe that he introduced in his 1948 work "Onement I," marked a pivotal moment in his artistic journey and the broader trajectory of Color Field Painting. These zips, which he meticulously created by applying masking tape and then painting over the exposed areas, served not only as structural elements but also as a means of dividing and uniting the canvas, thereby deepening the viewer's engagement with the work​ (The Museum of Modern Art)​​ (The Museum of Modern Art)​.

Newman's paintings, often featuring expansive fields of color broken by these zips, invite viewers into a contemplative space where the canvas acts as an environment rather than a mere surface. This approach reflects Newman's desire to explore the spiritual and metaphysical dimensions of art, positioning his work as a means of accessing sublime experiences directly. His largest work at the time, "Vir Heroicus Sublimis" (1950-51), encapsulates this ambition, inviting the viewer to physically and emotionally immerse themselves in the vast red field of the painting, disrupted only by slender vertical zips. Newman's intention was for his art to engender a profound, almost physical encounter, mirroring the complexities and depths of human interactions​ (The Museum of Modern Art)​.

Color Field Painting, as defined by critics and historians, marks a departure from the gestural brushwork of other Abstract Expressionists, focusing instead on the purity and depth of color to evoke an emotional response. This movement sought to distill painting to its essential qualities of color, shape, and space, eschewing representational content for an emphasis on the intrinsic properties of the medium itself. Artists like Helen Frankenthaler, Morris Louis, and Kenneth Noland further developed the movement, each bringing their unique approaches to the use of color and form. Frankenthaler's technique of staining untreated canvas, for instance, influenced many Color Field painters, emphasizing the movement's foundational principle: the canvas as a vital, living space for the exploration of color and emotion​ (The Art Story)​.

Through his work, Newman bridged the gap between Abstract Expressionism and the nascent Minimalist movement, influencing subsequent generations of artists. His dedication to the exploration of color and form, combined with a philosophical inquiry into the nature of art and experience, solidifies his place as a pivotal figure in the evolution of post-war American art​ (The Art Story)​​ (Wikipedia)​.

Barnett Newman's artistic journey can be encapsulated within the themes of spirituality and the sublime, themes deeply woven into the fabric of his work. His evolution from the tactile, painterly qualities of his early pieces, like Onement I from 1948, towards a more geometric, hard-edged style signifies a deliberate shift towards abstraction, distancing his work from the typical spontaneity and intuition of Abstract Expressionism. Instead, Newman's art represents a meditation on existence, reducing the human touch to explore abstract art's capability to express spiritual and sublime experiences directly​ (TheCollector)​.

Newman's paintings from the 1950s onwards complicate his association with Abstract Expressionism. Despite being categorized under this movement, his works transcend the movement's boundaries, aiming not for expression through abstraction but for an experience of spirituality akin to that of Byzantine and Renaissance religious art or the pursuit of the sublime by Romantic painters. Newman sought to evoke spiritual awe, not through representational imagery but through expansive color fields, what he referred to as "zips." This method was not about the depiction of the divine but about the experience of the sublime itself, offering the viewer a direct, unmediated encounter with spirituality​ (TheCollector)​.

In his essay "The Sublime is Now" (1948), Newman articulated a vision for modern art that moves beyond traditional representations of cathedrals and deities, aiming instead to construct a sublime experience out of personal, internal feelings. This idea, resonating with the beliefs of Abstract Expressionism, emphasized the emotional and spiritual potential of art, aiming to create an overwhelming, almost religious, viewing experience. Through grand-scale works, Newman and his contemporaries sought to dominate the viewer’s field of vision, inviting contemplation and transcendence, thereby continuing the Romantic pursuit of the aesthetic experience and the emotions it evokes​ (The Museum of Modern Art)​.

Moreover, Newman's approach to spirituality was unique in its refusal to lean on historical or religious imagery directly. Instead, by naming his works after biblical figures and events—like the "Stations of the Cross" series—he maintained a spiritual dialogue without representing these themes pictorially. This choice positioned his art as both a continuation and a departure from traditional religious art. By avoiding direct representation, Newman's work aligned with a broader modernist critique of idolatry, suggesting that spiritual experience in art need not be tethered to specific, recognizable forms but can be purely abstract, invoking a sense of the divine through form and color alone​ (TheCollector)​.

Newman's deep conviction in the power of art to engender spiritual and existential contemplation set him apart from many of his contemporaries, especially in the post-World War II era. Amidst widespread nihilism, Newman's art stood as a testament to the enduring human spirit, positing art not merely as a medium for expression but as a vital, spiritual endeavor capable of uplifting and uniting humanity. This belief underscores Newman's significance not only as an artist but as a visionary who saw art as a means to transcend the material and touch upon the universal human condition​ (TheCollector)​.

Barnett Newman's art, deeply infused with themes of individuality and connection, invites a contemplative engagement with the viewer, invoking a profound sense of existential reflection. His creation of the "zip," a distinctive vertical stripe running the length of the canvas, emerged as a pivotal element in his work, notably in pieces such as Onement I (1948). This innovation not only disrupted traditional figure-ground relations but also sought to envelop the viewer in an immersive color experience, wherein the zip acted as a catalyst for personal and emotional resonance. Newman's approach aimed to evoke an immediate physical and metaphysical reaction, akin to the experience of encountering another person, fostering a sense of both individuality and relational depth​ (The Art Story)​.

Newman's philosophical musings on art and existence further illuminate his quest for a direct, unmediated connection between the artwork and the viewer. His belief in art as a primal human endeavor, a fundamental mode of expression predating even the most ancient societal functions, underpins his artistic practice. This perspective resonates with his broader vision of art's capacity to transcend mere aesthetic appreciation, aspiring instead to a more profound, existential engagement. Newman's works, devoid of anecdotal content, stand as self-sufficient entities, inviting viewers to derive meaning through the act of viewing itself, rather than through external narratives or discourses​ (The Art Story)​.

Moreover, Newman's exploration of individuality and connection extends beyond the visual to the metaphysical realm, engaging with themes of creation, existence, and the human condition. His use of color and form, particularly through the innovative deployment of zips, serves not only as a visual mechanism but also as a means to explore and express these deeper existential themes. The dynamic interaction elicited by the zips, with their capacity to foreground or recede, parallels the viewer's own fluctuating consciousness, mirroring the complexities of human perception and cognition​ (Michelle Vara)​.

Newman's philosophical articulations, coupled with his distinct visual language, underscore a career-long engagement with the existential dimensions of art. His works do not merely occupy physical space but also invite a profound introspection, bridging the gap between the self and the sublime, the individual and the collective. This dual exploration of individuality and connection remains a testament to Newman's legacy, positioning his oeuvre as a pivotal intersection of Abstract Expressionism and the deeper, universal quest for meaning and belonging within the vast expanse of human experience​ (The Art Story)​​ (Michelle Vara)​.

Barnett Newman's art is deeply interwoven with themes of Jewish identity, memory, and spirituality, reflecting his personal heritage and broader existential inquiries. Born to Russian Jewish immigrants in New York City, Newman's upbringing in a Zionist household and his education in Hebrew and religious texts significantly influenced his artistic oeuvre. Although his works are predominantly abstract, they often carry titles and themes that resonate with Jewish mysticism, biblical narratives, and the collective memory of the Jewish people​ (Jewish Virtual Library)​.

One of the most compelling aspects of Newman's work is his engagement with Jewish mysticism, particularly the Kabbalistic concept of Tzimtzum (Hebrew: contraction). This idea, which suggests that divine creation was made possible through God's voluntary withdrawal from a part of Himself, finds echoes in Newman's art through his use of "zips." These vertical lines, which separate color fields, can be seen as artistic manifestations of Tzimtzum, dividing the canvas and creating a "makom" (Hebrew: place or space), which is of paramount importance in Newman's works. This concept of making a sacred space within the artwork invites the viewer into a deeply personal and spiritual encounter​ (Project MUSE)​.

Newman's Stations of the Cross series, created between 1958 and 1966, stands out as a particularly poignant exploration of Jewish themes through the lens of universal suffering. While the series' title references Jesus' cry of abandonment on the cross, Newman saw these words as embodying a broader human experience of forsakenness, relevant to the horrors of the Holocaust and the collective suffering of the Jewish people. This work underscores Newman's interest in bridging Jewish and Christian narratives, using biblical themes to address universal questions of pain, abandonment, and redemption​ (The Forward)​.

Despite Newman's exploration of Christian themes, scholars and critics have highlighted the profound Jewish underpinnings of his work. From the use of biblical names like Adam, Eve, and Abraham to his fascination with Jewish mysticism and the Hebrew term "makom," Newman's art is a testament to his deep engagement with his Jewish identity. This engagement is nuanced, eschewing straightforward religious iconography for a more abstract, yet deeply spiritual, exploration of Jewish memory and identity​ (The Forward)​.

In sum, Barnett Newman's art serves as a bridge between the abstract and the spiritual, between Jewish heritage and universal human experience. Through his innovative use of color, form, and space, Newman invites viewers into a contemplative space where Jewish themes and memories are explored in the context of modern abstraction. His work remains a profound contribution to the understanding of how Jewish identity and spirituality can be expressed and interrogated through the medium of modern art.

Barnett Newman's later works, characterized by their vibrant colors and bold use of "zips," represent a significant phase in his artistic career, marked by a shift towards more graphic qualities and a transition from oil to acrylic paints. This period, spanning the last five years of his life (1965–1970), is considered crucial for understanding Newman's legacy as an innovative color field painter and an abstract expressionist.

In these late works, Newman embraced a minimalist approach, employing large canvases to explore the potency of pure, saturated colors. His series "Who's Afraid of Red, Yellow and Blue" is particularly notable for its use of expansive color fields that engage viewers in a visceral manner. "Anna's Light" (1968), named in memory of his mother and measuring 8.5 meters by 2.7 meters, stands out as his largest work, showcasing his mastery of vibrant hues and minimalist composition​ (ArtWizard - Buy Art Online)​.

The Menil Collection's exhibition, "Barnett Newman: The Late Work," which ran from March 27 to August 2, 2015, provided a rare opportunity to study Newman's late works in relation to his broader oeuvre. This period was defined by significant material and technical innovations, including his shift to acrylic paints, which allowed for flatter, more solid, and saturated colors. These changes are evident when comparing the atmospheric effects and painterly quality of his earlier works to the bold graphicness of his later paintings. The unfinished works from this period, left in an arrested state of development, reveal insights into Newman's painting process and his exploration of new materials​ (Yale University Press)​​ (The Menil Collection)​.

Newman's work from this era was deeply political, aiming to free painting from historical precedents and to foster a new awareness for the viewer through the experience of standing in front of his work. His vertical compositions, as opposed to traditional horizontal landscapes, were meant to resonate with the upright posture of the human body, creating a space that was both dynamic and reflective of the viewer's physical presence​ (The Menil Collection)​.

This late phase of Newman's career underscores his philosophical approach to art, wherein he sought to invoke the viewer's direct engagement with the work, demanding presence and contemplation. His exploration of vibrant colors and minimalist forms in these years stands as a testament to his enduring influence on abstract expressionism and color field painting.

Robert Motherwell's engagement with themes of the human condition is central to understanding his work and legacy. Throughout his career, Motherwell navigated between the abstract and the deeply personal, using his art to explore complex emotions, political and social issues, and existential inquiries. His series, such as the "Elegies to the Spanish Republic," are emblematic of this approach, employing abstract forms to grapple with themes of life, death, struggle, and resistance. The stark black and white compositions of the Elegies, for example, are not merely formal explorations but are imbued with a sense of mourning and contemplation on the fragility of human existence and the tragedy of the Spanish Civil War​ (The Art Story)​.

Motherwell's work is marked by a profound engagement with the emotional and psychological aspects of the human experience. This is evident not only in the content of his paintings but also in his theoretical writings and his role as a spokesperson for Abstract Expressionism. He was deeply interested in the role of the modern artist in society, viewing art as a means of confronting and understanding the complexities of human life and the modern world. For Motherwell, the act of creation was intertwined with a broader philosophical and existential inquiry, reflecting his belief in the power of art to transcend the personal and touch upon universal human themes​ (The Art Story)​​ (The Museum of Modern Art)​.

Moreover, Motherwell's commitment to Modernism was rooted in a desire to express a more "adequate and accurate view of things now," as he saw it. His embrace of Modernism wasn't just a stylistic choice but a deeper reflection on the human condition, an attempt to navigate and articulate the tumultuous reality of the 20th century. This perspective was informed by his academic background in philosophy and his interactions with European Surrealists, which instilled in him a lifelong interest in exploring the subconscious and the layers of human consciousness through art​ (The Dedalus Foundation)​.

Motherwell's body of work, from his paintings and collages to his writings and teachings, offers a rich tapestry of inquiry into the human condition, marking him as not only a leading figure in American art but also a profound thinker on the role of the artist in the modern world. His legacy endures in the way his art continues to inspire reflection on the universal aspects of human experience.