Barnett Newman, a pivotal figure in American Abstract Expressionism, revolutionized how we perceive art by challenging traditional notions of subject, form, and size. His distinctive approach, particularly through his iconic "zips" and profound understanding of scale, invites viewers into a direct, almost metaphysical experience. This article explores Newman's core ideas, providing a comprehensive overview for students studying his work.
Unpacking Barnett Newman: Subject in Painting
For Newman, the fundamental question in painting was not about technique, plasticity, or surface, but about the subject. He believed this was the crucial issue for himself and contemporaries like Jackson Pollock and Arshile Gorky. The subject transcended the mere objects depicted on a canvas.
He drew a significant distinction, often attributed to Professor Meyer Schapiro, between the "object matter" of a work and its true "subject." For instance, while some might see Paul Cézanne's subject as apples, Newman argued that even a painting without recognizable objects, such as his own, still possesses a profound subject.
Newman's early works, devoid of traditional figures or landscapes, challenged viewers to look beyond literal representation. His aim was to convey a deeper, more immediate meaning, an emotional or intellectual truth, rather than a depiction of the external world.
The Genesis of the "Zip": Onement I and Its Meaning
The year 1948 marked a significant turning point for Newman with his painting "Onement I." Created on his birthday, this small red painting introduced what he called the "zip" – a vertical band, initially a piece of tape, running through the center of the canvas. He preferred to call it a "zip" rather than a "stripe," viewing it as a "streak of light."
The "Zip" as Unifier, Not Divider
Newman emphasized that the zip was not an arbitrary abstract decision, nor was it meant to divide the painting. Instead, he felt it did the exact opposite: it united the work. The zip creates a sense of totality, bringing the elements of the painting together rather than dissecting them.
He realized that unlike his previous attempts to "fill the canvas," the zip in "Onement I" made the painting feel complete. It eliminated atmosphere, making the painting come to life and presenting a unified experience to the viewer. This directness means there is "nothing to walk into"; it's not a window into an interior or exterior world that one must navigate to find meaning.
The Immediate Impact of the Zip
Newman likened the experience of encountering his work to meeting a person for the first time. The reaction is immediate and total, a "metaphysical event" where personalities make contact. If one has to dissect details, it becomes a "cosmetic situation" that removes one from the true experience. His paintings, centered around the zip, aim for this direct, impactful engagement.
The Crucial Role of Scale in Barnett Newman's Art
Beyond subject and the zip, Newman fundamentally re-evaluated the concept of size in painting, arguing that "Size Doesn't Count; it's scale that counts." This distinction is crucial to understanding his work, particularly his large-format paintings.
Achieving Human Scale Through Content
Newman asserted that whether an easel painting is small or large is not the issue. The real measure is human scale, which he believed could only be achieved through the painting's content. This doesn't refer to narrative content, but to the inherent meaning and presence that the artwork projects.
For Newman, a painting's content, conveyed through its forms and composition, dictates its scale. A painting could be physically large, yet still possess human scale if its content allows for a direct, immersive, and personal encounter with the viewer, transcending mere physical dimensions.
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Key Concepts in Barnett Newman's Philosophy
- Subject vs. Object Matter: The deep meaning of a painting, distinct from the literal things depicted within it.
- The Zip: Newman's signature vertical band, intended to unite the painting and create totality, not to divide or create an illusion of space.
- Immediate Impact: The desire for viewers to experience his art directly and totally, much like a first encounter with a person.
- Scale over Size: The belief that a painting's true impact and connection to the human experience are determined by its content, not its physical dimensions.
Newman's work moved beyond traditional artistic concerns, seeking to create a direct, unmediated encounter between the artwork and the viewer. His ideas profoundly influenced the course of modern art, challenging artists and audiences to redefine their understanding of what painting could be.
Frequently Asked Questions About Barnett Newman
What is Barnett Newman's concept of the "zip"?
Barnett Newman's "zip" is a vertical band, often thin and sharply defined, that he integrated into his abstract paintings, starting with "Onement I" in 1948. Newman described it as a "streak of light" rather than a mere stripe. Crucially, he saw the zip not as dividing the canvas, but as uniting it, creating a sense of totality and bringing the painting to life, fostering an immediate and holistic experience for the viewer.
How did Barnett Newman distinguish between "subject" and "object matter"?
Barnett Newman believed the true subject of a painting was its crucial element, going beyond mere technique or plasticity. He distinguished it from "object matter," which refers to the literal objects depicted (e.g., apples in a still life). For Newman, even a painting without recognizable objects, such as his abstract works, still possessed a profound subject – a deeper meaning or truth – that invited a direct intellectual or emotional engagement rather than a narrative interpretation.
What did Barnett Newman mean by "scale" in art, and why was it important?
Barnett Newman argued that "Size Doesn't Count; it's scale that counts." For him, scale referred to the human dimension of a painting, which is achieved through its content, not its physical size. Whether a painting was small or large, its human scale was determined by its ability to create a direct, impactful, and immersive experience for the viewer, allowing for a personal and metaphysical encounter with the artwork. It was about the painting's presence and its relationship to the viewer's body and mind, rather than just its dimensions.