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

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, 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

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

Introduction by 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. 

Introduction
Barnett Newman (January 29, 1905 – July 4, 1970) was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters. His paintings are existential in tone and content, explicitly composed with the intention of communicating a sense of locality, presence, and contingency.
Wikidata
Q374504
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
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
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License

If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at firenze@scalarchives.com. Motion picture film stills or motion picture footage from films in MoMA's Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center. More information is also available about the film collection and the Circulating Film and Video Library.

If you would like to reproduce text from a MoMA publication or moma.org, please email text_permissions@moma.org. If you would like to publish text from MoMA's archival materials, please fill out this permission form and send to archives@moma.org.

This record is a work in progress. If you have additional information or spotted an error, please send feedback to digital@moma.org.