“Shining Forth (to George)” by Barnett Newman was inspired by personal and philosophical elements. Created in 1961, the painting was dedicated to Newman’s brother, George, who passed away in February of that year.
The title of the work plays on the Hebrew translation of George’s name, which means “to shine,” reflecting both a personal homage and a broader philosophical exploration of light and presence.
Newman achieved a radical simplicity in his painting, characterised by monochromes punctuated by vertical stripes, known as “zips.”
In “Shining Forth,” three subtly dissymmetrical vertical stripes are placed on a blank background, with the right stripe presented as a negative of the first. This composition reflects Newman’s interest in the concept of the sublime, inspired by religious mysticism and the Kabbalah. The painting’s extreme simplicity and focus on light and space aim to evoke a sense of the sublime, making it a profound exploration of presence and absence
Barnett Newman’s work is characterised by several key ideas and concepts that have significantly influenced modern art: Abstract Expressionism and Colour Field Painting: Newman is recognised as a major figure in abstract expressionism and one of the foremost colour field painters. His work is known for its large fields of colour interrupted by vertical lines, or “zips,” which create a sense of place and presence.
Newman believed in the power of art to address existential conditions and uplift the human spirit.
His paintings often aim to evoke the sublime and create a spiritual experience, drawing on biblical themes without representational imagery.
Influenced by philosophical ideas, Newman sought to express the most essential aspects of human existence through his art.
He argued that the artistic instinct precedes utilitarian instincts, viewing art as an expression of primal human emotions.
Newman rejected traditional artistic forms and sought to transcend decorative aspects of art to project concepts.
His work often features a minimalist approach, using simple forms to convey complex ideas.
Newman’s art is seen as empowering and idiosyncratic, emphasising the universal essence of the individual.
He believed that each artwork is a universe within itself, not needing to relate to history or other works.
These concepts reflect Newman’s commitment to redefining art as a profound and transformative force, capable of addressing both individual and collective human experiences.
Barnett Newman’s philosophical essays significantly influenced his artistic style by providing a theoretical foundation that guided his approach to painting. Here are some key ways in which his philosophical ideas shaped his art: Primacy of the Artistic Act:
In his essay “The First Man Was an Artist,” Newman argued that the artistic instinct precedes utilitarian instincts, suggesting that art is a fundamental human expression. This belief led him to focus on the purity of the artistic act, free from societal or functional constraints.
In “The Sublime Is Now,” Newman criticised past artists for focusing on beauty, instead advocating for a new vision that denied art’s concern with beauty.
This philosophical stance led him to create works that were self-evident and derived from personal feelings, rather than historical or aesthetic conventions.
Newman sought to evoke the sublime, a concept he believed was accessible through pure abstraction.
He aimed to create a spiritual experience through his art, removing representational elements to focus on the viewer’s existential and metaphysical awareness.
Newman believed that art should be anti-anecdotal, meaning it should not rely on narrative or historical context.
This idea led him to create paintings that were self-sufficient, aiming to evoke a sense of individuality and connection with the viewer.
Newman drew inspiration from primitive art, which he saw as expressing fundamental human experiences without reliance on formal beauty.
This perspective influenced his minimalist approach, focusing on basic forms and colours to convey abstract ideas.
These philosophical ideas were central to Newman’s development of his distinctive style, characterised by large fields of colour and vertical “zips,” which aimed to convey profound existential and spiritual themes.
Barnett Newman’s essay “The Sublime Is Now” profoundly shaped his artistic vision by challenging traditional notions of beauty
And advocating for a new approach to art that emphasises the sublime. Here are the key ways in which the essay influenced his work:
Newman criticised past artists for focusing on beauty, arguing that even modernists were merely reinterpreting it rather than creating a new vision.
He believed that art should not concern itself with beauty, which he saw as a distraction from achieving the sublime.
Newman emphasised the sublime as a central goal of modern art, seeking to evoke a sense of exaltation and transcendence beyond the physical and aesthetic constraints of beauty.
He argued that the sublime could not be contained in traditional forms or representations, aligning with philosophical ideas about the unbounded nature of the mind.
Newman advocated for art that was self-evident and derived from personal feelings, free from historical, nostalgic, or mythical connections.
This approach led to his development of the “zip” paintings, which focus on simplicity and the immediate experience of the viewer.
He saw the impulse of modern art as a desire to destroy beauty and form, breaking free from the constraints of traditional Western art.
This destruction of form was seen as a pathway to accessing the sublime, focusing on ultimate emotions rather than calculated aesthetic effects.
Newman believed that the sublime was an individual experience, a “here and now” event that transcended narrative continuity and historical context.
His work aimed to create a direct, intuitive connection with the viewer, emphasising the moment of encounter with the artwork as a revelatory experience.
Through these ideas, Newman’s essay laid the groundwork for his innovative artistic style, characterised by abstract expressionism and the iconic “zip” paintings that sought to embody the sublime.
Barnett Newman’s essay “The Sublime Is Now” elicited mixed reactions from his contemporaries. While the essay was significant in articulating Newman’s vision of modern art, it was met with varying degrees of understanding and acceptance:
Newman’s ideas were not widely embraced at the time of publication. His emphasis on rejecting traditional beauty in favour of the sublime was a radical departure from established norms, leading to a muted response from both critics and the public.
The essay’s publication coincided with the debut of his “zip” paintings, which were initially met with misunderstanding and even negative reactions from audiences.
Despite the overall lack of support, renowned art critic Clement Greenberg was one of the few who understood and supported Newman’s vision.
Greenberg’s endorsement, however, did little to sway the broader art establishment at the time.
Over time, Newman’s ideas began to resonate with younger artists who appreciated his focus on individuality and the concept of art as a self-contained universe.
His work encouraged them to embrace their unique artistic identities, free from historical constraints.
Newman’s ideas in “The Sublime Is Now” aligned with philosophical discussions about the nature of art and the sublime, drawing parallels with thinkers like Immanuel Kant. This philosophical underpinning contributed to a deeper appreciation among those interested in the theoretical aspects of art.
Overall, while Newman’s essay did not receive widespread acclaim initially, it ultimately influenced a new generation of artists and contributed to ongoing discussions about the role of beauty and the sublime in modern art.
Barnett Newman’s philosophical ideas, particularly those expressed in his essay “The Sublime Is Now,” resonated with the younger generation of artists in several significant ways:
Newman emphasised the empowerment of the individual artist, encouraging them to embrace their unique identity and artistic vision.
This perspective resonated with young artists who were seeking to break free from historical constraints and traditional artistic norms.
He demonstrated that each artwork could be a self-contained universe, independent of historical context or other works.
This idea appealed to artists who wanted to create art that stood on its own, without needing to relate to past traditions or movements.
Newman’s rejection of classical standards of beauty in favour of the sublime provided a new framework for understanding and creating art.
This approach encouraged artists to explore new forms and ideas, focusing on pure expression and the immediate impact of their work.
His emphasis on working with pure forms and ideas, devoid of symbolism or allusions, inspired artists to pursue abstract art that conveyed basic human emotions and thoughts.
This focus on the essential elements of art aligned with the desires of younger artists to innovate and redefine artistic boundaries.
Newman’s belief in creating art that was anti-anecdotal, or not tied to narrative or historical sequences, encouraged artists to focus on the present moment and the direct experience of the viewer.
This approach fostered a sense of immediacy and authenticity in their work.
Overall, Newman’s ideas provided a philosophical foundation that empowered a new generation of artists to explore their individuality and redefine the possibilities of modern art.