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Barnett Newman (Nueva York, 29 de enero de 1905 - ibídem, 4 de julio de 1970) fue un pintor estadounidense al que se relaciona con el expresionismo abstracto y un destacado exponente de la pintura de campos de color.
Barnett Newman (January 29, 1905 – July 4, 1970) was an American artist. He has been critically regarded as one of the major figures of abstract expressionism, and one of the foremost color field painters. His paintings explore the sense of place that viewers experience with art and incorporate simplistic forms to emphasize this feeling. [1]
Barnett Newman (29 de enero de 1905 - 4 de julio de 1970) fue un pintor estadounidense al que se relaciona con el expresionismo abstracto y un destacado exponente de la pintura de campos de color. Newman nació en Nueva York, hijo de inmigrantes judíos del Este de Europa.
Barnett Newman (January 29, 1905 – July 4, 1970) was an American artist. He has been critically regarded as one of the major figures of abstract expressionism, and one of the foremost color field painters. His paintings explore the sense of place that viewers experience with art and incorporate simplistic forms to emphasize this feeling.
Between 1944 and 1970 Barnett Newman created 118 paintings, 82 drawings, 6 sculptures and from 1961 onward a group of graphics that includes lithographs (notably the portfolio 18 Cantos ), etchings (including the portfolio Notes ), as well as a silkscreen. An architectural model dates to 1963.
A piece inexplicably missing from the museum is Chartres, one of two triangular paintings of 1969, with a yellow center, two red corners, and three blue bands. Its absence is regrettable as it curtails the demonstration of Newman’s diversified color usage, his move into a theory of color, and his conversion of it to a radiant physical display.
Barnett Newman. Adam 1951, 1952. Oil paint on canvas. Support: 2429 x 2029 mm. Tate T01091. © ARS, NY and DACS, London 2018. This In Focus proceeds in five parts. In the present essay I examine Newman’s decision to add the third band in light of the structure of beholding that it allowed him to establish for the painting’s viewers.
