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:


Contact Me via E-Mail:
edward [at] tanguay.info
Notes on video lecture:
Barnett Newman's Onement, I (1948)
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
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)