The Painting Techniques of Barnett Newman

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The Painting Techniques of Barnett Newman발음듣기

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[Male] Guy walks into a bar.발음듣기

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Sees the painter friend's client sitting down with a beer.발음듣기

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Says, "Friends, you know I just came from the new Barnet Newman show."발음듣기

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Client says, "Oh yeah, what do you think?발음듣기

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I haven't seen it yet."발음듣기

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Guy says, "You know, it seemed pretty simple.발음듣기

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Just a bunch of paintings with lines."발음듣기

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Client says, "Huh. These paintings, they all the same color?"발음듣기

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The guys says, "No."발음듣기

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'"These paintings, they all the same size?"발음듣기

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Guy says, "No."발음듣기

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'"How about those lines? They all the same color? Same size? Same placement?"발음듣기

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Guy says, "No."발음듣기

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Client says, "Sounds pretty damn complicated to me." (piano music)발음듣기

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In old master paintings, figure ground relationships usually referred to the figure, say the Virgin Mary and the ground.발음듣기

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Either the gold ground, background of an Italian panel painting, or perhaps the landscape that is behind the Virgin's throne.발음듣기

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In Vir Heroicus Sublimis, Newman has gotten rid of the Virgin.발음듣기

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He's also gotten rid of the landscape.발음듣기

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What he's retained, is the illusionistic relationship between forms in space.발음듣기

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Why are these lines vertical?발음듣기

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It's because when we relate to each other, we relate to each other, largely as vertical forms.발음듣기

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As soon as a mark is made on canvas, visually one thing is in front of another.발음듣기

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Newman referred to these things, if you will, as zips.발음듣기

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And these zips are vertical lines which connect the upper and lower edges of the painting.발음듣기

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And in this example, the far left of the painting, by looking closely we can actually see that the color of the zip was actually painted first, underneath the color of the ground.발음듣기

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So that you might say, "Okay, a zip, a line, it's certainly in front of the ground, just like the Virgin is in front of the landscape behind her.발음듣기

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However, by looking closely at this zip, you can realize that Newman actually reversed that relationship because you're seeing that that zip is actually physically behind the ground.발음듣기

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So, how did Newman do it?발음듣기

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Newman almost always used masking tape to construct his zips.발음듣기

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Now what you'll notice first, is that I've painted a base coat.발음듣기

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A very fleshy pink kind of color.발음듣기

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One way that Newman made zips was to use masking tape over a base coat.발음듣기

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Now removing the tape you'll see that the color of the entire painting has changed, except for that area of the zip.발음듣기

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Shifting gears and looking at this very dark zip, towards the right side of the painting.발음듣기

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This zip because it's so dark on such a bright painting, almost looks like it has a depth, like it's behind the red ground, as if you could look into that space.발음듣기

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However, approaching the painting and getting close, you realize that Newman has constructed this zip in a different way.발음듣기

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So that where that tape bleeds under the masking tape, it's actually going out from the zip and into the red ground, meaning that physically that paint is actually on top of the red ground.발음듣기

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What we begin to get a picture of then, is that Newman is making all these subtle adjustments to these zips. (piano music)발음듣기

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None of them are the same.발음듣기

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And none of them have the same relationship, to the red ground of this painting.발음듣기

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So when you stand from a good viewing distance, away from the painting, you realize that these zips are competing with each other for your optical attention.발음듣기

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So that one zip is quite loud and hits you in the eye directly, while other zips may be just flickering barely there, and are very, very slow to attract your eye to them.발음듣기

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In other words, there's a victorial dynamism.발음듣기

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There's a dynamic interaction between these zips in space. (piano music)발음듣기

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Newman invited the viewer to be eighteen inches away from the painting.발음듣기

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And because this painting is so huge, when you do that, your entire field of vision is dominated by the painting itself. (piano music)발음듣기

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