The relevance of title to form and content in the mature work of Barnett Newman

Abstract

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.