Relevant bibliographies by topics / Barnett Newman

Academic literature on the topic 'Barnett Newman'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Barnett Newman"

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SHIPWAY, ALAN. "RECONSIDERING BARNETT NEWMAN." Art Book 13, no. 2 (May 2006): 65–66. http://dx.doi.org/10.1111/j.1467-8357.2006.00681_5.x.

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Newman, Annalee, and Matthew Baigell. "Barnett Newman and the Kabbalah." American Art 9, no. 1 (April 1995): 117–18. http://dx.doi.org/10.1086/424238.

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Silver, Larry. "Barnett Newman: Jewish Place and Moment." Ars Judaica: The Bar Ilan Journal of Jewish Art 15 (January 2019): 71–94. http://dx.doi.org/10.3828/aj.2019.15.6.

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Bois, Yve-Alain. "On Two Paintings by Barnett Newman." October 108 (April 2004): 3–27. http://dx.doi.org/10.1162/016228704774115690.

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Lino, Alice de Carvalho. "A pintura “sublime” de Barnett Newman." Viso: Cadernos de estética aplicada 10, no. 18 (January 27, 2016): 60–82. http://dx.doi.org/10.22409/1981-4062/v18i/218.

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O presente artigo refere-se à crítica de Lyortard à pintura de Barnett Newman a partir da estética do sublime de Longino, Burke e Kant. Primeiramente, amparando-se em Longino, o crítico estabelece uma relação entre o silêncio sublime, a imagem do indeterminado e as artes nos séculos XIX e XX. Indícios desta indeterminação pictural já seriam perceptíveis desde as telas de Manet e Cézanne, já que eles teriam rompido com os padrões estabelecidos na representação, constituindo outra relação entre a figura e o espaço, mediante as cores com seus valores. No caso das pinturas de Newman, o indeterminado estaria na cor, no próprio quadro, que possibilitaria, nos termos de Lyotard, a ocorrência da obra. Esta ocorrência equivaleria ao “consumo” imediato da imagem, capaz de suscitar o prazer do sentimento sublime. O terror ou o temor sentido estaria na possibilidade da não ocorrência da obra, que é descrita por Lyotard a partir do aspecto da “privação”, presente, especialmente, na estética de Burke. Lyotard descreve as obras de Newman recorrendo também à noção de “inapresentável”, devido à presença do informe e da ausência completa da forma nos quadros. Nesse momento de sua argumentação, ele recorre ao conceito do sentimento do sublime de Kant. Assim, diferentemente da incapacidade da imaginação vivenciar os fenômenos naturais em todo seu poderio e grandeza, a pintura sublime – na caracterização de Lyotard – apresentaria tais potências mesmo que de modo negativo.
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Chadwick, Stephanie. "Barnett Newman, Gandhi, and the Aesthetics of Nonviolence." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 4 (January 14, 2017): 02–12. http://dx.doi.org/10.21659/rupkatha.v8n4.02.

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Anderson-Reece, Erik. "Who's Afraid of Corporate Culture: The Barnett Newman Controversy." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 49. http://dx.doi.org/10.2307/431970.

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Penn, Suzanne. "INTUITION AND THE INCIDENTAL: THE PAINTINGS OF BARNETT NEWMAN." Studies in Conservation 49, sup2 (September 1, 2004): 142–46. http://dx.doi.org/10.1179/sic.2004.49.s2.031.

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ANDERSON-REECE, ERIK. "Who's Afraid of Corporate Culture: The Barnett Newman Controversy." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 49–58. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0049.

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Gradowczyk, Mario H. "SIMETRIA E SIMBOLISMO: TORRES GARCÍA, XUL SOLAR E BARNETT NEWMAN*." Estudos Ibero-Americanos 23, no. 2 (December 31, 1997): 47. http://dx.doi.org/10.15448/1980-864x.1997.2.28274.

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Seria difícil de encontrar pontos de contato entre essas figuras paradigmáticas: o Uruguai Joaquín Torres García (1876-1949), o argentino Alejandro Xul Solar (1887- 1963) eo norte-americano Barnett Newman (1905-1970). No entanto, por trás de suas diferentes atitudes perante a vida, os três artistas compartilham aspirações espirituais comuns que dão conteúdo universal às suas criações em um período histórico onde a palavra Modernismo foi reconhecida como sinônimo de renovação formal.Torres García tinha se dedicado para a articulação de uma proposta construtiva com conotações místicas e universais. Em Paris, Torres Garcia consolidou sua mistura especial de Construtivismo. Depois de deixar seu rastro de murais, pinturas, construções com madeira, brinquedos, desenhos, textos programáticos, e seus manifestos na Europa, o artista voltou a Montevidéu. Lá, ele aprofundou seus objetivos pictóricos, publicou a Estrutura e Universalismo Construtivo, ele deu palestras, ele executou murais de grande escala - infelizmente já não na existem - e fundou a EscueladelSur.Xul Solar, depois de um período de formação numa Europa dividida pela Primeira Guerra Mundial, voltou a Buenos Aires em 1924 e participou do grupo Martin Fierro. Embora sempre pronto para ouvir e compartilhar com os outros as suas cosmogonias, Xul acabou por ser para a maioria de seus contemporâneos, um solitário, um excêntrico, de acordo com a “aparência exótica” com a qual ele protegeu-se a ele mesmo.Barnett Newman, um dos maiores Norte-Americanos expressionistas abstratos, um estudante de arte arcaica e povos primitivos, expressa com suas telas articuladas com tiras verticais a visão de um artista que recriou em suas [resumo] formas um mundo de símbolos. Ele defendeu o uso de elementos geométricos, mas se opôs aos abstracionistas puros, cujo epítome - de acordo com Newman - foi a produção de Mondrian. Nessa nova pintura, que ele tinha chamado plasmic, porque os elementos plásticosda arte foram convertidos em plasma mental, abstração é o idioma adequado para a visualização de formas e cores que atuam como símbolos para desenhar o observador mais perto de visão do artista.É impossível confundir a emoção contida em abstrações de Newman com a energia expansiva irradiando de construções de Torres Garcia ou com XulSolarts ideogramas curiosos incorporados em sua linguagem: Neo-creoletão irreverente como é sugestiva; estes expressam gestos e atitudes incomparáveis. O que desejo enfatizar é que a partilha de uma visão cósmica com uma avaliação do mítico e simbólico levou a coincidências importantes entre esses artistas, que até agora não estudado a partir dessa perspectiva, coincidências que reafirmam a importância do compromisso espiritual de um grupo de artistas dentro do movimento moderno.
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Dissertations / Theses on the topic "Barnett Newman"

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Niblock, Rebecca Salma. "Political meaning in the paintings of Barnett Newman." Thesis, University of Bristol, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409311.

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Vanel, Hervé. "Peindre l'impossible : Barnett Newman, Francis Bacon, Willem de Kooning." Paris 1, 2001. http://www.theses.fr/2001PA010501.

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La notion d'impossible fut différemment formulée par trois artistes d'une même génération : Barnett Newman (1905-1970), Willem de Kooning (1904-1997), Francis Bacon (1909-1992). Cette notion peut simplement se définir comme un écart entre intention et réalisation ; un écart nécessaire que Marcel Duchamp désignait en 1958 comme le << coefficient d'art >> d'une oeuvre. On retrouve en ces termes les éléments d'une pensée typiquement romantique de l'impossible, visant (tragiquement) a résorber l'écart entre l'art et la vie. Dans les années trente, la génération de bacon, de Kooning et Newman se voit confrontée aux avatars d'une telle esthétique : instrumentalisation de l'art par les régimes totalitaires, art régionaliste, prolongements de l'abstraction, vélléités révolutionnaires du surréalisme. Leur génération grandit ainsi dans l'idée d'une possible réforme du monde par l'art, et s'épanouit dans la désillusion de cette utopie dans l'après deuxième guerre mondiale. Une fois posés les termes d'une double trahison du surréalisme et de l'abstraction par ces peintres, il s'agit d'étudier les aspects spécifiques de leur art qui sous-tendent cette réalisation impossible de l'art dans la vie :l'inachèvement, et les multiples modes d'interrogations des limites entre l'espace réel et l'espace de l'art. Il apparait finalement que ces artistes ont fait de l'impossibilité même de fondre l'art et la vie le facteur dynamique de leur esthétique, cherchant en cela à maintenir l'utopie, le rêve, au bord d'une réalisation qui les détruirait. En cela l'impossible représente une menace perpétuelle qui n'épargne pas les schémas à travers lesquels l'histoire de l'art aborde (entre autres) l'art de leur génération (expressionnisme abstrait, peinture d'action, color-field, école de New York, de Londres. . . ) C'est également dans la contradiction que ces artistes apportent à ces catégories, à leur raisons d'être, que se perçoit leur conception d'un temps et d'un espace nouveaux en perpétuels devenir.
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Horton, Kathleen. "Language, silence and ideal viewing positions: The critical reception of Barnett Newman." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/104801/1/T%28CI%29%2089%20Language%2C%20silence%20and%20ideal%20viewing%20positions%20the%20critical%20reception%20of%20Barnet%20Newman.pdf.

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Expressionist painter, Barnett Newman hoped that standing before one of his paintings, a viewer would feel a "sense of place". Art history however often identifies Newman as a perpetually displaced artist; displaced because his work is considered ahead of its time, and displaced because Newman could only defend the uniqueness of his aesthetic project in the terms of a shifting context. Central to Newman's predicament were the demands of an art practice which privileged the visual over the linguistic as a form of direct communication. From the perspective of 2003, when Modernism can register like a lost world, the alterity of the visual and the linguistic remains central to debates in the visual arts. Re-positioned as a central figure of twentieth century art practice, Newman and his pre-occupations with place and position are as intriguing as ever.
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Sondag, Gérard. "Poétique de l'expressionnisme abstrait : Pollock, Rothko, Newman." Paris 1, 1986. http://www.theses.fr/1986PA010580.

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La partie historique relate la genèse de l'expressionnisme abstrait. La partie théorique définit les concepts et méthodes utilisés dans la troisième partie : nature et buts de l'activité artistique du peintre, avec une analyse appliquée des effets de rétroaction dans la recherche de nouvelles voies artistiques; étiologie de l'œuvre d'art, avec un examen particulier de la relation d'expression, philosophiquement redéfinie; méthode d'analyse des qualités plastiques; méthode d'étude des rapports entre fins artistiques et œuvres. La partie critique étudie l'œuvre peinte de Pollock, Rothko, Newman. Après une étude de la littérature critique sur Pollock, l'auteur propose sa propre interprétation, centrée sur la période des drippings. L'art de P. Est rapporté à l'esthétique pragmatiste américaine et éclairé par le concept d'interaction, simple et complète. Ce concept explique l'évolution du peintre, du figuratif à l'abstrait et vice-versa. Les traits originaux de l'œuvre de Rothko sont son aura (intemporalité esthétique), sa charge sacrale (réminiscence de motifs religieux dans un art profane) et une composition particulière, dite "figurale", de la peinture. L'auteur analyse la pensée artistique de Newman à travers ses écrits, et définit ses peintures comme "tableaux-symboles" (ou le tableau contient moins une image du sujet, qu'il n'est lui-même à l'image du sujet). L'art de N. Est rapporté à la théorie du sublime dans l'art et la littérature, du pseudo-longin à nos jours. Annexes : diagrammes et schémas de tableaux, traduction française d'un essai de Newman, index des noms, index analytique des termes de théorie de l'art (ou poétique), d'esthétique, de critique d'art et d'histoire de l'art
Three parts. The historical part relates the birth of abstract expressionism. The theoretical part defines the concepts and methods applied in the third part : nature and aims of the artistic activity in painting, with a special analysis of feed-back effects in the discovering of new artistic ways; factors of the work of art, particulary the expression of the artist, philosophically re-defined; method of esthetic analysis of pictorial qualities; method of investigating the relations between artistic aims and works. The critical part studies the painted work of Pollock, Rothko and Newman. After an investigation of the critical literature on Pollock, the author explains his own interpretation, focused on the drippings period. P's art is linked up to the american pragmatist esthetics and explained through the concept of mere and complete interaction. This concept helps clarify unexplained shifts in p's evolution, from representative to abstract art and from abstract to representative art. The salient features of Rothko's work are its aura (esthetic timelessness), its sacral meaning (reminiscent of religious topics in profane art) and a peculiar shape ("figural" shape) of the painting. The author analyses the esthetic thinking of Newman in his writings and defines his paintings as "symbolic pictures" (the picture itself is an image of the subject matter, rather than containing an image of it). N's esthetics is linked up to the theory of the sublime in art and literature from pseudo-longin untill today. Appendix : diagrams of paintings, french translation of an essay by Newman, index of names, index of technical terms (theory of art, esthetics, art criticism and history of art)
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Friend, Zoe L. "Normal What." University of Sydney, 2005. http://hdl.handle.net/2123/1305.

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Master of Visual Arts
The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.
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Phelan, Richard Kempf Jean. "Le questionnement du cadre par la peinture américaine depuis 1945." Lyon : Université Lumière Lyon 2, 2006. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2006/phelan_r.

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Castro, Vera Marisa Pugliese de. "Os Sudários de Bené Fonteles, o Chemin de la Croix de Henri Matisse e as Stations of the Cross de Barnett Newman : pathos e anacronismo na historiografia da arte." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/15066.

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Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013.
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A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT
The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.
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Crignon, Cyril. "Le "dripping" de Jackson Pollock et le "zip" de Barnett Newman : les deux pôles de construction du lieu dans la peinture "à l'américaine" : pour une approche philosophique de la question." Paris 1, 2013. http://www.theses.fr/2013PA010521.

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Pour mieux cerner l'optique en laquelle la grande peinture américaine fut élaborée après la Seconde Guerre mondiale , cette étude élargit la focale par l'examen conjoint des œuvres de Barnett Newman et de Jackson Pollock. Sous des aspects contraires, les deux veulent en effet créer chez le spectateur un sens du lieu et lui rendre sensible la constitution de l'espace au lieu de lui en donner des représentations. Rouvrant le débat sur le modernisme entamé par Clément Greenberg, la thèse admet que cette peinture tient sa spécificité de ses réponses à la crise du tableau de chevalet diagnostiquée par le critique, et voit comme elle prend en compte la question de la place du spectateur étudiée par Michael Fried dans la continuité de celui-ci. Elle affirme cela dit la nécessité d'une approche philosophique de la construction picturale du lieu qui soulève des questions touchant à la spatialisation, au passage d'une forme « à priori » de la sensibilité à des formes sensibles, à la position puis à la réforme du sujet dans sa relation avec l'objet. La réflexion part ainsi du kantisme pour en dépasser les cadres stricts, naviguant entre l'idéalisme transcendantal et la phénoménologie. Elle croise les références à Fichte, Husserl et Lévinas avec celles de l'esthétique et de l'histoire de l'art, en prenant soin de les ancrer dans l'analyse d'oeuvres singulières. Elle espère ainsi mieux saisir la façon dont ces œuvres produisent du sens hors des voies de l'iconographie et déterminer les significations historiques qui s'y rattachent. Une définition plus large du modernisme est ici en jeu, ainsi qu'une conception de l'abstraction qui en affirme le socle anthropologique et la fonction cognitive.
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Phelan, Richard. "Le questionnement du cadre par la peinture américaine depuis 1945." Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/phelan_r.

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Cette recherche tente de comprendre toute l‘importance de l'absence de cadre autour des toiles peintes à partir des années 1940 par les peintres américains Mark Rothko et Barnett Newman. En symbiose avec cette pratique, une esthétique nouvelle était en train de se constituer ; grâce à l'examen de l'œuvre de Robert Ryman (qui offre la démonstration du plein développement de cette esthétique externe) il s'agit d'en déplier la démarche. Celle-ci est fondée sur le rejet d'un modèle qui avait besoin du cadre comme synecdoque : une esthétique illusionniste où le tableau était une fenêtre donnant accès à un monde fictif. Mais, l'absence de cadre visible n'équivaut pas à une absence de cadre, car l'objet empirique ou ornemental n'était que la forme visible d'un ensemble de fonctions, d'un système sémiotique que la thèse s'efforce de formuler, qui travaille l'œuvre et qui en détermine l'adresse. C'est ce cadre invisible qu'il s'agit de rendre perceptible. Les manifestations de cette invisibilité du cadre sont repérées et analysées dans les impulsions iconoclastes et contradictoires de Newman et Rothko, les résistances pratiques de Ryman et les brillantes stratégies d'impact de Stella et de Kelly. Mais, elle se trouve également à l'œuvre à la fin du XXe siècle dans la pratique de l'installation. Le questionnement du cadre, c'est le questionnement (si grisant pour le spectateur contemporain, petit-fils de Duchamp) de la limite et du regard. C'est aussi la performance invisible de la main de l'artiste
This research began out of a desire to fully understood the importance of the absence of the picture-frame around the paintings of Mark Rothko and Barnett Newman. Such an absence was a descision which participated in the creation of a new aesthetic turned outwards from the canvas. This external aesthetic was fully developed, and indeed is still being developed, in the work of Robert Ryman. What was abandoned was an aesthetic for which the frame was a synecdoche, the model which supposed the painting to be a window onto an illusion. But the absence of a visible frame is not an absence of frame since the ornamental frame is but the visible form of a set of functions, a semiotic system which this dissertation attempts to reconstruct and analyse. This system of the frame forms the work and determines its address, both enunciative and manual. It is this invisible frame which the study tries to render perceptible through an analysis of the iconoclastic and contradictory impulses running through the work of Barnett Newman and Mark Rothko, through the pragmatic resistances to reproduction and to appropriation in that of Robert Ryman, and through the bold brightness strategic to the paintings of Frank Stella and Ellsworth Kelly. It is also to be found at work in the installations current at the end of the twentieth century and at the beginning of the twenty-first. The questionning of the frame therefore is a questionning of the limit and of the gaze such as the contemporary viewer is accustomed to enjoying since Marcel Duchamp. It is also the questionning and renewal of the performance of the artist's hand which forwards the work and gives it edge and energy
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Kublik, Borg Ylva. "Allmän mänsklighet." Thesis, Konstfack, Institutionen för Konst (K), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7698.

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Denna uppsats utgår från målningen Vir Heroicus Sublimis från 1950 av den abstrakta expressionisten Barnett Newman och installationen One and Three Chairs från 1965 av konceptkonstnären Joseph Kousuth som en undersökande metod för att förstå intentionen med mitt eget verk Sitta från kandidatutställningen Lampa, Blomma på Konstfack hösten 2020. Arbetet med uppsatsen har haft en undersökande form från början till slut utifrån fria associationer mellan Sitta och de konsthistoriska verken som ingång.
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Books on the topic "Barnett Newman"

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van, Adrichem Jan, Soeting Margreeth, Wijnberg Louise, and Amsterdam (Netherlands) Stedelijk Museum, eds. Barnett Newman: Cathedra. Amsterdam: Stedelijk Museum Amsterdam, 2001.

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Newman, Barnett. Barnett Newman: Paintings. New York: The Pace Gallery, 1988.

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Melissa, Ho, and Philadelphia Museum of Art, eds. Reconsidering Barnett Newman. Philadelphia, PA: Philadelphia Museum of Art, 2005.

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Garciandía, Flavio. Who's affraid of Barnett Newman. Garza García, N.L., México: Galería Ramis Barquet, 1998.

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Armin, Zweite, and Kunstsammlung Nordrhein-Westfalen (Germany), eds. Barnett Newman: Bilder, Skulpturen, Graphik. Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 1997.

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6

Shiff, Richard. Barnett Newman: A catalogue raisonné. New York: Barnett Newman Foundation, 2004.

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Barnett Newman and Heideggerian philosophy. Lanham, Md: Fairleigh Dickinson University Press, 2012.

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Bonn, Sally. L' expérience éclairante: Sur Barnett Newman. Bruxelles: La lettre volée, 2005.

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Newman, Barnett. Barnett Newman: Selected writings and interviews. Berkeley: University of California Press, 1992.

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Newman, Barnett. Barnett Newman: Die Druckgraphik, 1961-1969. Ostfildern-Ruit bei Stuttgart: G. Hatje, 1996.

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Book chapters on the topic "Barnett Newman"

1

Morawietz, Eva. "Newman, Barnett." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14972-1.

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Morawietz, Eva. "Gottlieb, Adolph / Rothko, Mark / Newman, Barnett." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22997-1.

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Block, Christian, and Elisabeth Kampmann. "Newman, Barnett: The Sublime is Now." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14973-1.

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Morawietz, Eva. "Gottlieb, Adolph / Rothko, Mark / Newman, Barnett: Statement." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_23000-1.

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Rogge, Corina E., and Bradford A. Epley. "A New Vocabulary of Color: Bocour Oil Paints and Barnett Newman." In Conservation of Modern Oil Paintings, 139–52. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_10.

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Cernuschi, Claude. "The Visualization of Temporality in the Abstract Paintings of Barnett Newman 1." In The Iconology of Abstraction, 114–25. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-11.

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Johnson, Galen A. "The Invisible and the Unpresentable: Barnett Newman’s Abstract Expressionism and the Aesthetics of Merleau-Ponty." In The Visible and the Invisible in the Interplay between Philosophy, Literature and Reality, 179–89. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0485-5_11.

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Judd, Donald. "Barnett Newman." In Modern Art and Modernism: A Critical Anthology, 129–32. Routledge, 2018. http://dx.doi.org/10.4324/9780429498909-23.

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"Der divergente Augenblick – Barnett Newman." In Die Trägheit des Bildes, 115–43. Wilhelm Fink Verlag, 2008. http://dx.doi.org/10.30965/9783846744789_007.

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"1. Barnett Newman: Adam’s Line." In Inclinations, 17–24. Stanford University Press, 2020. http://dx.doi.org/10.1515/9781503600416-003.

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