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12 articles
Book Review
Totality: Abstraction and Meaning in the Art of Barnett Newman
06/2024 | 1455 | 166
Pages: 659–661
related names
Reviewer:
Fried, Michael (Fried, Michael)
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Reviewed Items
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Totality: Abstraction and Meaning in the Art of Barnett Newman By Michael Schreyach. 296 pp. incl. 43 col. + 22 b. & w. ills. (University of California Press, Oakland, 2023), £34. ISBN 978–0–520–37951–0 | :
Illustrations
Attributed works:
9. Onement 1, by Barnett Newman. 1948. Oil on canvas and masking tape, 69.2 by 41.3 cm. (© The Barnett Newman Foundation, New York and DACS, London 2024; Museum of Modern Art, New York).
Short Notice
What are Barnett Newman’s reds, yellows and blues?
10/2023 | 1447 | 165
Pages: 1111–1115
related names
Author:
Epley, Bradford A. (Epley, Bradford A.)
Author:
Rogge, Corina E. (Rogge, Corina E.)
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Illustrations
Attributed works:
1. Who’s afraid of red, yellow and blue I, by Barnett Newman. 1966. Oil on canvas, 190.5 by 212.9 cm. (© Barnett Newman Foundation, New York; DACS, London; private collection).
Attributed works:
2. Who’s afraid of red, yellow and blue II, by Barnett Newman. 1967. Acrylic on canvas, 304.8 by 259.1 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatsgalerie, Stuttgart).
Attributed works:
3. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Oil on canvas, 245 by 543 cm. (© Barnett Newman Foundation, New York; DACS, London; Stedelijk Museum, Amsterdam).
Attributed works:
4. Who’s afraid of red, yellow and blue IV, by Barnett Newman. 1969–70. Acrylic on canvas, 274.3 by 604.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatliche Museen zu Berlin-Preussischer Kulturbesitz).
Attributed works:
5. Chartres, by Barnett Newman. 1969. Acrylic on canvas, 305 by 289.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Daros Collection, Switzerland).
Attributed works:
6. Colour swatches reproducing the red, blue, and yellow paints in Who’s afraid of red, yellow and blue I, II, IV and Chartres as measured by spectrophotometry. The values in parentheses are the CIEDE2000 values measuring the difference between the colours of Who’s afraid I and each of the other paintings. (Menil Collection, Houston).
Attributed works:
7. Newman at his 1969 exhibition at the Knoedler Gallery, New York. On the wall next to the doorway hangs Who’s afraid I. (© Barnett Newman Foundation, New York; DACS, London).
Article
The Art of Conservation XIV. Accommodating change: twentieth-century American artists and conservators
02/2018 | 1379 | 160
Pages: 126-135
related names
Author:
Epley, Bradford A. (Epley, Bradford A.)
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Illustrations
Attributed works:
10. Detail of Fig.9, showing the extent to which the varnish saturates the paint and reveals brushwork, both the artist’s and the conservator’s, which was deliberately eschewed by the artist (© 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
11. 6:30, by David Novros. On the left is the original (1966) and on the right is the second version, acrylic on canvas on six wood panels (2006). Both 182.9 by 261.6 cm. (Menil Collection, Houston; © 2018 David Novros / Artists Rights Society (ARS), New York).
Attributed works:
2. Female nude, by Pablo Picasso. 1910. Canvas, 73 by 54 cm. (Menil Collection, Houston; © 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
3. Fig.2 photographed in raking light after varnish removal to reveal the recovery of the overall matt paint surface and a better sense of the varied brushwork used. (© 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
4. Barnett Newman in front of Be I a the Betty Parsons Gallery, New York, 1950. (Photograph Hans Namuth; courtesy Center for Creative Photography, University of Arizona, Tucson; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
5. Detail of Be I, by Barnett Newman. 1949. (Menil Collection, Houston; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
6. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Canvas, 243.8 by 543.6 cm. Photograph taken after restoration in 1991. (Stedelijk Museum, Amsterdam; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
7. Ad Reinhardt in his studio, 1955. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
8. Ad Reinhardt at work on a black painting in his New York studio, July 1966. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
9. Abstract Painting, 1954–1960, by Ad Reinhardt. Canvas, 203.5 by 127.3 cm. (Menil Collection, Houston; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Western art unattributed:
1. Caroline and Sheldon Keck working at the Brooklyn Museum, New York. Undated photograph. (Collection of the Brooklyn Museum Archives, New York).
Exhibition Review
Barnett Newman. Houston
08/2015 | 1349 | 157
Pages: 576-577
related names
Reviewer:
Anfam, David (Anfam, David)
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Illustrations
Attributed works:
74. Shimmer bright, by Barnett Newman. 1968 (Metropolitan Museum of Art, New York; exh. The Menil Collection, Houston)
Attributed works:
75. Unfinished painting, by Barnett Newman. 1970 (The Menil Collection, Houston)
Attributed works:
76. Here I, by Barnett Newman. 1950 (The Menil Collection, Houston)
Book Review
An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism
09/2013 | 1326 | 155
Pages: 630-631
Short Notice
New information on Barnett Newman’s exhibition history, 1948–52
07/2008 | 1264 | 150
Pages: 473-477
related names
Author:
Lawrence, James (Lawrence, James)
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Illustrations
Attributed works:
49. Onement IV, by Barnett Newman. 1949. Oil and casein on canvas, 83.8 by 96.5 cm. (Allen Memorial Art Museum, Oberlin College, Oberlin OH).
Attributed works:
50. Genetic moment, by Barnett Newman. 1947. Canvas, 96.5 by 71 cm. (Fondation Beyeler, Riehen/Basel).
Western art unattributed:
46. Installation photograph of Barnett Newman’s 1950 solo exhibition at Betty Parsons Gallery, New York, showing (left to right): Onement III, Covenant, Horizon light (hung vertically) and The promise. Photograph by Aaron Siskind. (Courtesy of the Barnett Newman Foundation, New York; © The Aaron Siskind Foundation, New York).
Western art unattributed:
47. Barnett Newman at his 1950 solo exhibition, Betty Parsons Gallery, New York. Shown are (left to right): part of The promise, Be I, Yellow painting and End of silence. Photograph by Aaron Siskind. (Courtesy of the Barnett Newman Foundation, New York; © The Aaron Siskind Foundation, New York).
Western art unattributed:
48. Part of the west wall at Barnett Newman’s 1950 solo exhibition, Betty Parsons Gallery, New York, showing (left) Concord and (right) Tundra. Photograph by Aaron Siskind. (Courtesy of the Barnett Newman Foundation, New York; © The Aaron Siskind Foundation, New York).
Exhibition Review
Barnett Newman: Philadelphia and London
09/2002 | 1194 | 144
Pages: 583-585
related names
Reviewer:
Anfam, David (Anfam, David)
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Illustrations
Attributed works:
78. Prometheus Bound, by Barnett Newman. 1952. Synthetic Resin, 337 by 129.5 cm. (Museum Folkwang, Essen; Exh. Tate Modern, London).
Attributed works:
79. Chartres, by Barnett Newman. 1969. Acrylic, 304.8 by 289.6 cm. (Daros Collection, Switzerland; Exh. Tate Modern, London).
Attributed works:
80. Death of Euclid, by Barnett Newman. 1947. 40.6 by 50.8 cm. (Frederick R. Weisman Art Foundation, Los Angeles; Exh. Tate Modern, London).
Attributed works:
81. Lace Curtain for Mayor Daley, by Barnett Newman. 1968. Steel, Paint and Barbed Wire, 177.8 by 121.9 by 25.34 cm. (Art Institute of Chicago; Exh. Tate Modern, London).
Book Review
Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still
03/2001 | 1176 | 143
Pages: 169-170
related names
Reviewer:
White, Michael (White, Michael)
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Reviewed Items
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Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still | author: Golding, John
Book Review
Barnett Newman: Paintings Sculptures Works on Paper
05/2000 | 1166 | 142
Pages: 316-317
related names
Reviewer:
Schor, Gabriele (Schor, Gabriele)
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Reviewed Items
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Barnett Newman: Paintings Sculptures Works on Paper | author: Newman, Barnett , author: Zweite, Armin
Exhibition Review
Baziotes, Newman, Motherwell, Dehner, Hare. New York
07/1988 | 1024 | 130
Pages: 561-563
related names
Reviewer:
Kingsley, April (Kingsley, April)
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Illustrations
Attributed works:
95. Untitled, by William Baziotes. c.1962. Water-Colour on Paper, 21.6 by 17.8 cm. (BlumHelman, New York).
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96. Homely Protestant II (40 Years Later), by Robert Motherwell. 1980-88. Acrylic and Charcoal on Canvas, 213.2 by 106.7 cm. (Knoedler, New York).
Attributed works:
97. Artist and Model, by Dorothy Dehner. 1950. Pen and Ink on Paper, 58.4 by 46.4 cm. (Twining Gallery, New York).
Attributed works:
98. Apple Window, by David Hare. Steel and Bronze, 33 by 15 by 12 in. (Gruenebaum Gallery, New York).
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