The Learn Tracker
...life-long learning: structured, organized, searchable...
924
Lectures Watched
Since January 1, 2014
Hundreds of free, self-paced university courses available:
my recommendations here
Peruse my collection of 275
influential people of the past.
View My Class Notes via:
Receive My Class Notes via E-Mail:

VIEW ARCHIVE

Contact Me via E-Mail:
edward [at] tanguay.info
Notes on video lecture:
Barnett Newman's Onement, I (1948)
Notes taken by Edward Tanguay on May 6, 2017 (go to class or lectures)
Choose from these words to fill the blanks below:
oranges, Alizarin, Jewish, knife, cadmium, squirt, underneath, manufacturing, graphic, American, translucent, pull, studio, white, zip, burgundies, hue, ground, orange, buttery, philosophy, German, two
•
Onement, I (1948)
•
Barnett Newman (1905-1970)
•
one of the major                  artists in abstract expressionism
•
one of the foremost of the color field painters
•
born in New York City, the son of              immigrants from Poland
•
studied                      at the City College of New York and worked in his father's business                            clothing
•
he considered it his mature work
•
a breakthrough work aesthetically and in terms of his              practice
•
his first fully developed concept of the       
•
the characteristic                device of Newman
•
down the center of the painting
•
alternatively dividing and uniting the space of the canvas
•
underneath the                red light band of paint, you will see a piece of masking tape
•
used                  paint
•
he probably intended to rip this tape off
•
he was probably intending a            zip down the middle
•
this could be the very beginning of some methodical painting process that Newman was beginning
•
the band affirms the       -dimension location of the support
•
emphasized the figure/             relationship of something in front of something else
•
although quite flat, something opaque versus a very translucent ground that you can read into see a certain amount of depth
•
Newman simply left the tape there and applied a cadmium red paint over the masking tape with a palette knife
•
therefore it has a                thin texture
•
lifts of paint which are characteristic of squeezing the palette            down onto the surface of the painting
•
the paint will              out around the edges of the knife
•
we know its cadmium red
•
       of color
•
opacity
•
cadmium being a heavy metal, you can think of it like lead, and so opaque
•
you either see the              or your don't, characteristic of opaque pigments
•
it's not translucent like the Alizarin in the background
•
color choices
•
Hans Hofmann (1880-1966)
•
            -born American abstract expressionist painter
•
Hofmann's ideas of push and         
•
the temperature of a color
•
it's ability to push out into your space optically or pull away from you
•
warm colors
•
associate with daylight
•
reds, yellows, the               
•
push into your space
•
they hit you in the eye first
•
cooler colors
•
associate with nighttime
•
blues, purples, even                      or maroons
•
are reticent
•
they're quieter in our eye, pulling back away from us
•
by contrasting that push and pull effect, Newman is reinforcing the figure/ground effect
•
the zip is hitting us in the eye first
•
the cooler colored background is moving away from us and is                      the zip
•
it is also a                       , a weaker color than the zip

Ideas and Concepts:

Hofmann's concept of push and pull colors, via tonight's Postwar Abstract Painting class:

"Hans Hofmann taught that space and color are inseparable, and showed this through the freely brushed rectangular areas defining his large canvases, which are vigorously involved with the push/pull energy of warm and cool colors. Warm colors such as yellow, orange, and red, associated with daylight, push into your space and advance toward the eye, while cool colors such as green, blue, and purple, associated with nighttime, are quieter to the eye, pulling back away from us.

But Hofmann also experimented with how subtle factors of size and placement can alter or even reverse this axiom. His electric chartreuse yellow/greens, hot-pink/magentas, and glassy blues, swim, float, shift and glide around slabs of deep purple, orange or clear red with energy.

Just as a symphony is an orchestration of sounds and intervals, these paintings exist as symphonies of color and space. For viewers unaccustomed to enjoying non-pictorial or abstract art, one need only learn to listen with the eye to enjoy Hofmann's work."
Barnett Newman's Onement, I (1948)
Barnett Newman's The Wild (1950)
Barnett Newman's Vir Heroicus Sublimis (1950)