فهم الفن التجريدي - مجلة حكمة
يتطور فهم الفن التجريدي في عالم الفن، العالم دائم التغير، باستمرار، لأن العالم يفعل. سيجد الطالب الذي يدرس الفنون أن دراسته تصل في كل فترة.
Dec 11, 2020
بارنيت نيومان
الأمر كله يتعلق بالعاطفة والاستجابة الفردية. قد يرى أحد المشاهدين جزءًا مثل ماجنا كاتدرائية لـ <anchor>بارنيت نيومان</anchor> ويشعر بأسلوب من الوحدة ،. حيث يرى المرجع المركزي مغمورًا ببحر من اللون الأزرق مع بدء اللون الأسود في التسرب حيث يختفي خط رمادي رفيع تقريبًا على يسار اللوحة القماشية . قد يشعر المشاهد الآخر الذي يشاهد القطعة المتطابقة بإحساس شديد بالأمل والروحانية ، ويقرأ اللون الأزرق كبحر بارد تشرقه قطعة بيضاء نقية تنمو في منتصف اللوحة لأن الخط الرمادي (ربما يُفسَّر على أنه يأس) يتلاشى. لا يعني النوع بالضرورة التعرف على الفنان أو الشكل أو الشيء أو القصة ، فهو يتعلم عن نفسه ولكنه يقدم معلومات عن الفنان أو التاريخ في بعض الحالات.
Barnett Newman | MoMA
Barnett Newman \| MoMA

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- [Restaurants](/visit/eating)
- [Accessibility](/visit/accessibility)
- [Discounts](/visit/discounts)
- [Families](/visit/families)
- [Visit MoMA PS1](https://www.momaps1.org)

- Exhibitions and events










Exhibitions and events















In the galleries

- [Current and upcoming exhibitions](/calendar/exhibitions)
- [Exhibition history](/calendar/exhibitions/history)

What’s on

- [Events calendar](/calendar)
- [Film series](/calendar/film)
- [Performances](/calendar/?happening_filter=Performances&location=both)

- Art and artists










Art and artists















Explore our Collection

- [Art](/collection/)
- [Artists](/artists/)

Learn, read, watch

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- [Magazine](/magazine/)
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# Barnett Newman

## American, 1905–1970

![William Vandivert. Photograph of Barnett Newman. c. 1951. gelatin silver print, 8 x 8 1/4&#34; (20.3 x 21 cm). Photographic Archive, Artists and Personalities. The Museum of Modern Art Archives, New York](/d/assets/W1siZiIsIjIwMTkvMTIvMDYvN3Y0bzZqbGI4aF80Mjg1XzY3ODI2MV9uZXdtYW5fY3JvcC5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSA1MTJ4NTEyXHUwMDNlIl1d/4285_678261_newman_crop.jpg?sha=c1d874a21ead5890)

![Barnett Newman. Vir Heroicus Sublimis. 1950-51. Oil on canvas, 7&#39; 11 3/8&#34; x 17&#39; 9 1/4&#34; (242.2 x 541.7 cm). Gift of Mr. and Mrs. Ben Heller. © 2019 Barnett Newman Foundation / Artists Rights Society (ARS), New York](/d/assets/W1siZiIsIjIwMjIvMDkvMTkvY3pva3hyMzR5XzI0MF8xOTY5X0NDQ1JfUHJlc3NfU2l0ZS5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAxMTg0eDY2Nl4gLWdyYXZpdHkgQ2VudGVyIC1jcm9wIDExODR4NjY2KzArMCJdXQ/240_1969_CCCR-Press%20Site.jpg?sha=182eeb273ae54141)

“The aspiration...to start from scratch, to paint as if painting never existed before....That made painters out of painters.”

Barnett Newman

Painter and theorist Barnett Newman was one of the most intellectual artists of the New York School. He was born and raised in New York, the son of Polish Jewish immigrants. His approach to art making was shaped by his studies in philosophy at The City College of New York and his political activism. In 1933, he ran for mayor of his city on a write-in ticket with a cultural platform, and he maintained a keen awareness of such modern horrors as Nazism and the atomic bomb. For him, art was an act of self-creation and a declaration of political, intellectual, and individual freedom. Master of witticisms, he once quipped: “aesthetics is to artists as ornithology is to the birds.”[1](#fn:1)

Newman’s artistic career was late-blooming and began in fits and starts. He was around 30 when he started painting, having spent the previous decade teaching, writing, studying, and working in his father’s menswear store. He deemed much of his early work unworthy of consideration and destroyed it. It was not until 1944 that he considered his work mature.

In 1948, with the completion of a painting titled [_Onement, I_](/collection/works/79601), Newman found his voice. It was in this work that he hit upon what would become the signature motif that defined all of his paintings to come: a vertical band connecting the upper and lower margins of the painting that he called a “zip.” His zips streak through fields of color in spare compositions that prompted critics to dub him a Color Field painter and Minimalists to look to his work for inspiration. But call him what they would, Newman maintained his own view of his abstractions. Claiming that he sought “to start from scratch, to paint as if painting never existed before,” he saw his compositions as forms of thought, as expressions of the universal experience of being alive and individual.[2](#fn:2)

Though he concentrated primarily on painting, Newman also made sculpture. It was not until the 1960s, the last decade of his life, that he achieved public acclaim for his work. His anarchic independence and uncompromising stance may have contributed to his slow acceptance, but these deep-seated forces within him also shaped his art. Reflecting on his work towards the end of his life, he declared, “One of its implications is its assertion of freedom…if \[it were read\] properly it would mean the end of all state capitalism and totalitarianism.”[3](#fn:3)

> Karen Kedmey, independent art historian and writer, 2017

1. John P. O’Neill, ed. _Barnett Newman: Selected Writings and Interviews_. (New York: Alfred A. Knopf, 1990), xxv.

2. John P. O’Neill, ed. _Barnett Newman: Selected Writings and Interviews_. (New York: Alfred A. Knopf, 1990), 192.

3. John P. O’Neill, ed. _Barnett Newman: Selected Writings and Interviews_. (New York: Alfred A. Knopf, 1990), 251.


Wikipedia entry

Introduction

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 the simplest forms to emphasize this feeling.


Wikidata

Q374504


[View or edit the full Wikipedia entry](https://en.wikipedia.org/wiki/Barnett%20Newman)

Information from Wikipedia, made available under the
[Creative Commons Attribution-ShareAlike License](https://en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_Attribution-ShareAlike_3.0_Unported_License)

Getty record

Introduction

Newman was born in New York to the parents of Polish immigrants. He studied painting in the 1920s but gave it up from 1940-1944, during which time he destroyed most of his early work. In 1948, he helped found 'Subject of the Artist' an art school in New York, along with Mark Rothko and Robert Motherwell. His work was usually characterized by vertical stripes on large canvases, using a wide range of colors. His painting style, along with his tendency toward the spritual and transcendental, associated him with the Abstract Expressionists. However, the simple form of his paintings would be a major influence on the next generation of Minimalists.


Nationality

American


Gender

Male


Roles

Artist, Art Critic, Writer, Painter, Sculptor


Name

Barnett Newman


Ulan

500000960


[View the full Getty record](http://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&prev_page=1&subjectid=500000960)

Information from Getty’s Union List of Artist Names ® (ULAN), made available under the
[ODC Attribution License](http://opendatacommons.org/licenses/by/1.0/)

- Associated art terms include [Abstract Expressionism](/collection/terms/abstract-expressionism) and [Allover painting](/collection/terms/allover-painting).


## Works

61 works online


- [![](/media/W1siZiIsIjQ3ODMxNSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=e5fc71a176293fce)\
\
Barnett Newman\
\
_Vir Heroicus Sublimis_\
\
1950-51\
\
On view\
\
\
Gallery 402](/collection/works/79250?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIyMjE2NyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=8be4403da4f85790)\
\
Barnett Newman\
\
_The Blessing_\
\
1944](/collection/works/34714?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjUyNzc1OSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=08a0350d4d06cefd)\
\
Barnett Newman\
\
_Untitled_\
\
1945](/collection/works/38100?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjUyNzcxMyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=72c5bccd57186042)\
\
Barnett Newman\
\
_Untitled_\
\
1946](/collection/works/37298?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIwMjIwMSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=8bfebeef28c6c5ce)\
\
Barnett Newman\
\
_Two Edges_\
\
1948](/collection/works/79268?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIwMjIwOSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=74def974954aa1a5)\
\
Barnett Newman\
\
_Onement I_\
\
1948](/collection/works/79601?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIwNzI4NCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=0e6e555ff43d78d9)\
\
Barnett Newman\
\
_Abraham_\
\
1949](/collection/works/80191?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIwMjIyNCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=8495f19a7d13a30f)\
\
Barnett Newman\
\
_Onement III_\
\
1949](/collection/works/79921?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjIwMjM3MiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=3e328f9896ea26ef)\
\
Barnett Newman\
\
_The Voice_\
\
1950](/collection/works/78308?artist_id=4285&page=1&sov_referrer=artist)
- [![](/media/W1siZiIsIjE2NTc1MCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE5OXgxOTlcdTAwM2UiXV0.jpg?sha=89e8df267a9d8591)\
\
Barnett Newman\
\
_The Wild_\
\
1950](/collection/works/80574?artist_id=4285&page=1&sov_referrer=artist)

## Exhibitions

- [![Louise Nevelson. Sky Cathedral. 1958. Painted wood, 11&#39; 3 1/2&#34; × 10&#39; 1/4&#34; × 18&#34; (343.9 × 305.4 × 45.7 cm). Gift of Mr. and Mrs. Ben Mildwoff. © 2023 Estate of Louise Nevelson/Artists Rights Society (ARS), New York](/d/assets/W1siZiIsIjIwMjIvMTIvMTQvMmo3Y3R5eDhjMl8xMzZfMTk1OF8xXzU3X0NDQ1JfUHJlc3NfU2l0ZS5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/136_1958_1-57_CCCR-Press%20Site.jpg?sha=a65757cefe698405)\
\
**402: Fields and Figures** \
\
Ongoing\
\
Collection gallery\
\
MoMA](/calendar/galleries/5552)
- [![Larry Rivers. Double Portrait of Frank O’Hara. 1955. Oil on canvas, 15 1/4 × 25 1/8&#34; (38.4 × 63.6 cm). Gift of Stuart Preston. © 2019 Estate of Larry Rivers/Licensed by VAGA, New York, NY](/d/assets/W1siZiIsIjIwMTkvMTAvMDgvNWRzdTBmb2w3MF8yODhfMTk3Nl9DUl9QcmVzc19Vc2UuanBnIl0sWyJwIiwiY29udmVydCIsIi1xdWFsaXR5IDkwIC1yZXNpemUgMjYweDE3NF4gLWdyYXZpdHkgTm9ydGggLWNyb3AgMjYweDE3NCswKzAiXV0/288_1976_CR-Press_Use.jpg?sha=f9f69723930f0a31)\
\
**407: Frank O’Hara, Lunchtime Poet** \
\
Fall 2019–Summer 2021\
\
Collection gallery\
\
MoMA](/calendar/galleries/5147)
- [![Mark Rothko. No. 5/No. 22. 1950 (dated on reverse 1949). Oil on canvas, 9&#39; 9&#34; × 8&#39; 11 1/8&#34; (297 × 272 cm). Gift of the artist. © 1998 Kate Rothko Prizel &amp; Christopher Rothko / Artists Rights Society (ARS), New York](/d/assets/W1siZiIsIjIwMTkvMTAvMDgvNmwwbG84cHhhNl8xMTA4XzE5NjlfQ0NDUl9QcmVzc19Vc2UuanBnIl0sWyJwIiwiY29udmVydCIsIi1xdWFsaXR5IDkwIC1yZXNpemUgMjYweDE3NF4gLWdyYXZpdHkgQ2VudGVyIC1jcm9wIDI2MHgxNzQrMCswIl1d/1108_1969_CCCR-Press_Use.jpg?sha=2a6f1836dc2620a7)\
\
**404: Planes of Color** \
\
Oct 21, 2019–Jan 2, 2023\
\
Collection gallery\
\
MoMA](/calendar/galleries/5118)
- [![Image of The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art. Pictured: Alexander Calder. Sandy’s Butterfly. 1964. Painted sheet steel and iron rods. Gift of the artist. © 2016 Calder Foundation, New York/Artists Rights Society (ARS), New York. Photos: Gus Powell](/d/assets/W1siZiIsIjIwMTYvMDcvMjUvNDdncmtxYzJldF8xNjA3MTRfMTMyN19tb21hX2dwb3dlbGxfMDQzMi5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/160714_1327_moma_gpowell_0432.jpg?sha=cd67f00c819e39ef)\
\
**Sculpture from the Collection 1960–1969** \
\
Jun 25, 2016–Jul 14, 2017\
\
MoMA](/calendar/exhibitions/1662)
- [![John Cage. 4′33″ (In Proportional Notation). 1952/53. Ink on paper, each page: 11 × 8 1/2″ (27.9 × 21.6 cm). The Museum of Modern Art, New York. Acquired through the generosity of Henry Kravis in honor of Marie-Josée Kravis, 2012. © 2013 John Cage Trust](/d/assets/W1siZiIsIjIwMTUvMTAvMjEvMXNvcXVnb3NieV90aGVyZXdpbGxuZXZlcmJlc2lsZW5jZS5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/therewillneverbesilence.jpg?sha=1cf78c27e38d7b00)\
\
**There Will Never Be Silence: Scoring John Cage’s _4′33″_** \
\
Oct 12, 2013–Jun 22, 2014\
\
MoMA](/calendar/exhibitions/1386)
- [![Jackson Pollock. Number 1A, 1948. 1948. Oil and enamel paint on canvas, 68″ × 8′ 8″ (172.7 × 264.2 cm). Purchase. © 2010 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York](/d/assets/W1siZiIsIjIwMTUvMTAvMTQvNTI2MzRzcmtnbV80NjM2MC5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/46360.jpg?sha=bb3a71ed7d000df2)\
\
**Abstract Expressionist New York** \
\
Oct 3, 2010–Apr 25, 2011\
\
MoMA](/calendar/exhibitions/1085)
- [![Kiki Smith. Untitled. 1990. Lithograph on handmade Japanese paper, sheet: 35 3/4 × 36″ (90.8 × 91.5 cm). Publisher and printer: Universal Limited Art Editions, West Islip, New York. Edition: 54. The Museum of Modern Art. Gift of Emily Fisher Landau](/d/assets/W1siZiIsIjIwMTYvMDcvMDEvODlhODd4bGUxbF8yMjBfMTk5MF9DQ0NSXzUwMDB4NTAwMC5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/220_1990_CCCR_5000x5000.jpg?sha=779f518a11bf2d87)\
\
**Artistic Collaborations: 50 Years at Universal Limited Art Editions** \
\
Jan 17–May 21, 2007\
\
MoMA](/calendar/exhibitions/17)
- [![Installation view of Artist’s Choice: Herzog &amp; de Meuron, Perception Restrained at The Museum of Modern Art, New York. Photo: Jonathan Muzikar](/d/assets/W1siZiIsIjIwMTgvMDUvMjIvMTFydDBuYW9ld19JTjE5NzZfMTFfQ0NDUi5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyNjB4MTc0XiAtZ3Jhdml0eSBDZW50ZXIgLWNyb3AgMjYweDE3NCswKzAiXV0/IN1976_11_CCCR.jpg?sha=4d97a5516fab556e)\
\
**Artist’s Choice: Herzog & de Meuron, Perception Restrained** \
\
Jun 21–Sep 25, 2006\
\
MoMA](/calendar/exhibitions/78)

[View all 49 exhibitions](/calendar/exhibitions/history?constituent_id=4285&sort_date=closing_date)

## Audio

- [**Barnett Newman** \
\
_Broken Obelisk_\
\
1963-69\
\
![](/media/W1siZiIsIjExNzEyNiJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE1OHgxMDVcdTAwM2UiXV0.jpg?sha=a5c3fb6730b664f5)](/audio/129)
- [**Barnett Newman** \
\
_Vir Heroicus Sublimis_\
\
1950-51\
\
![](/media/W1siZiIsIjQ3ODMxNSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE1OHgxMDVcdTAwM2UiXV0.jpg?sha=d0a108a2e3dbc86c)](/audio/3770)
- [**Barnett Newman** \
\
_Onement I_\
\
1948\
\
![](/media/W1siZiIsIjIwMjIwOSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE1OHgxMDVcdTAwM2UiXV0.jpg?sha=1f77f05b3e03a285)](/audio/112)
- [**Barnett Newman** \
\
_Vir Heroicus Sublimis_\
\
1950-51\
\
![](/media/W1siZiIsIjQ3ODMxNSJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDE1OHgxMDVcdTAwM2UiXV0.jpg?sha=d0a108a2e3dbc86c)](/audio/57)

## Publications

- [![](/d/assets/W1siZiIsIjIwMTkvMTAvMDgvdzB3dDVzNHFjX01vTUFfSGlnaGxpZ2h0c18yMDE5X2Zyb250X2NvdmVyLmpwZyJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDUxMng1MTJcdTAwM2UiXV0/MoMA%20Highlights%202019%20front%20cover.jpg?sha=97d5f1e95d5e9207)](javascript:void(0))






MoMA Highlights: 375 Works from The Museum of Modern Art

Introduction by Glenn D. Lowry, 2019

Flexibound, 408 pages


- [![](/d/assets/W1siZiIsIjIwMTkvMTAvMDgvN24wY3M4M3V2OV9Nb01BX05vd19mcm9udF9jb3Zlci5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSA1MTJ4NTEyXHUwMDNlIl1d/MoMA%20Now%20front%20cover.jpg?sha=4bae320e3a6e0fce)](javascript:void(0))






MoMA Now: Highlights from The Museum of Modern Art—Ninetieth Anniversary Edition

Introduction by Glenn D. Lowry, 2019

Hardcover, 424 pages


- [![](/d/assets/W1siZiIsIjIwMTgvMDYvMTMvMThnOWk0czI1Yl83OTMucG5nIl0sWyJwIiwiY29udmVydCIsIi1xdWFsaXR5IDkwIC1yZXNpemUgNTEyeDUxMlx1MDAzZSJdXQ/793.png?sha=804dec310ca3a0f6)](javascript:void(0))






Abstract Expressionism at The Museum of Modern Art

Ann Temkin, 2010

Exhibition catalogue, Hardcover, 128 pages


- Barnett Newman

Thomas B. Hess, 1971

Exhibition catalogue, Paperback, pages


- Barnett Newman

Thomas B. Hess, 1971

Exhibition catalogue, Clothbound, pages



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