巴尼特·紐曼全部影視作品
首發(fā)于 qinglite.cn，統(tǒng)計截止日：2026-01-22
 由紐曼所畫的羅斯科 | - |
| 無題 | - |
| 祝福 | - |
| 綠色和紅色的抽象構(gòu)成 | - |
| 無題（紫色背景上的紅黃綠） | - |
| 破碎的方尖碑 | Newman made several sculptures, but Broken Obelisk is his most monumental. Its use of heavy, rough-surfaced steel contrasts with the impression of lightness created by the inverted obelisk that almost floats above the stable pyramid. The two parts connect at a space of only two and a quarter inches, with an internal steel rod stabilizing the massive sculpture. Although ancient imagery of pyramids and obelisks are often associated with death, Newman reinvents them here to evoke life and transcendence. Several versions of Broken Obelisk exist, with one in Houston, Texas dedicated to the memory of Dr. Martin Luther King, Jr. The obelisk is a form from ancient Egyptian art that was a memorial. And what you have here is the top of the obelisk kissing, in a sense, the top of the pyramid—another Egyptian form—its bottom jaggedly cut midway, facing upward to the sky. This is a sculpture, which stands on its head, literally.Made in 1967—a time of great unrest in the United States—what Newman is achieving here is a memorial form, which is not a memorial to anything in particular. There is this idea of soaring aspiration unfulfilled, a lament for a time that isnt any more one of heroes, but one of assassinations, of broken dreams, disappointments, hopes. I think it reflects Newman's democratic, fundamentally populist political feelings, very much wanting to invent a symbol that represents everybody. |
| 狂野 | The Wild is unique in Newman's oeuvre by virtue of its unusual size: at eight feet tall by one and a half inches wide, it focuses on the zip alone. When first exhibited it was placed directly across from the vast Vir heroicus sublimis, and was said to be a response to the latter's sprawling size. It demonstrated Newman's belief that a painting need not be physically large to inspire an intense response from the viewer. The Wild could also be regarded as one of the first of the shaped canvases that became popular over a decade later with the arrival of artists such as Frank Stella and Kenneth Noland. |
| 開始 I | Newman saw Onement I as a breakthrough in his work. It features the first full incarnation of what he later called a 'zip', a vertical band of color. This motif would play a central role in many of his subsequent paintings. The painting's title is an archaic derivation of the word 'atonement', meaning, "the state of being made into one." For Newman, this unevenly painted zip on a flat field of color does not divide the canvas, rather it merges both sides, drawing in the audience to intensely experience the work both physically and emotionally. Some have compared the zips to Giacometti's slender figures, reinforcing Newman's own connections between his paintings and the viewer's body. |
| 篇章VII | In addition to paintings, Newman also created etchings and lithographs, such as the series 18 Cantos (1963-64). The Cantos are his only print series executed in color, and Newman spoke of them using musical analogies: "their symphonic mass lends additional clarity to each individual canto," he wrote in an introduction to the series, "and at the same time, each canto adds its song to the full chorus." In 18 Cantos, Newman employs a wide, off-set band, a variation on the thinner zips, and allows the colors to bleed out into the margins, testing the idea of spatial boundaries. He has written that each canto has its own "personal margins." |
| 篇章VIII | - |
| 時刻 | Moment is one of Newman’s first paintings to include a vertical band of light, a band which he would soon call a ‘zip’. He said that in these early works he was manipulating colour and space to fight the chaos that existed before the beginning of the universe. The title refers to the moment of creation, and possibly a moment of arrival for art. Abstract expressionist artists such as Rothko and Newman were aware that they were embarking on a series of radical new approaches to painting. |
| 英勇崇高之人 | - |
| 兩條邊界 | - |
| 無題2 | - |
| 白火I | - |
| 阿喀琉斯 | - |
| 十字路口的車站——第一站 | - |
| 盟約 | - |
| 和睦 | - |
| 無題3 | - |
評論
圖片
表情