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Notes on video lecture:
Barnett Newman's The Wild (1950)
Choose from these words to fill the blanks below:
Oneness, zip, Taniguchi, minimalist, brush, Newman, gloss, situation, sculpture, masking, lips, varnish, ground, palette, binder, narrow, ceiling, objects, integrate, buttery, hybridized, wood, wall
Barnett              (1905-1970)
1950 The Wild
a very tall, extraordinarily              painting
the painting is as deep as it is wide
he has stretched his canvas over a solid piece of         
he has                      this painting
it is as much a                    as it is a painting
Newman is a                     
he sees his paintings as               
while his painting                had a zip running down the middle, The Wild is a full rendition of the zip itself
we can read the entire painting itself, zip and              together, as one zip on the ground of the wall
we are reading the painting environmentally
thinking about how the painting reacts to the wall, to the ground
the fact that Yoshio                   , the architect of the building, as left a recess at the bottom of the wall
makes a dark shadow at the bottom of the floor and up by the               
we are making visual relationships
we can think of how the painting reacts to the          and the space around it
an important idea for minimalist artists
considered the                    of their painting, sculpture, or in the case of installation art is the main focus of the art, i.e. art that focuses on its space of exhibition
the paint itself
a narrow red        along a dark, blueish-gray ground
done by using two pieces of                tape
painting red with a           
pulling off the pieces of tape
then he has a second red paint application on top of the ground and the previous red zip
this was done with a                knife
flat,                texture
very characteristic          at the edge of the painting
it was done with a lot more gloss
he added more medium into the paint, perhaps even               
when we look at the painting in low light, to allow the light to scrape off the painting, we can see a gap in that second paint application where we see the underlying zip of the same color and values, but a very matte paint
has little              and certainly no varnish added to it
Newman is playing with these two applications of red paint allowing the second application to visually                    with the matte, underlying red band of paint

Spelling Corrections:

Barnett Newman's Onement, I (1948)
Barnett Newman's The Wild (1950)
Barnett Newman's Vir Heroicus Sublimis (1950)