Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1983 / Barnett Newman's mature work i.e. from 1948 - 1970 is characterised
by monumental paintings, flat planes of single colour and vertical
stripes as the only pictorial element. Despite this severe reduction
of form, the titles of these works suggest profound and esoteric
concepts. This dichotomy of simple form and complex meaning creates
a problem of understanding as there is no obvious correlation between
the two. A guide to interpretation is needed and is indicated even
more by the wide disparity between the interpretations by different
critics. In particular T.B. Hess, in his 1971 book on Newman,
introduces references to Kabbalistic themes that complicate the
issue further. Newman's widow and some critics reject Hess's premise
yet the image of Newman as a Kabbalist artist persists in writings as
recently as 1980.
This dissertation examines Hess's theories, rejects most of them and
attempts alternative interpretations. Newman was a prolific writer
and his stated philosophy may be studied as an index to the understanding of his work. This emerges as concerned with sublime,
spiritual and heroic content; and the absence of pictorial, nostalgic
references from nature is intended to evoke in the spectator a
corresponding spiritual and emotional response. Whether the artist's
aims were realized remains unanswered in this work because the title-
form relationship is still to some extent, obscure; but it is hoped
that lines of research into Newman's work other than those by Hess,
are strongly suggested.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:wits/oai:wiredspace.wits.ac.za:10539/19182 |
| Date | January 2015 |
| Creators | Mark, Lily |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | application/pdf, application/pdf |
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