Oil painting -> List of Painters -> Bruce Nauman

Bruce Nauman

Early Life: Barnett-Newman Newman was born in New York City, the son of Russian Jewish immigrants. He studied philosophy at the City College of New York and worked in his father's business manufacturing clothing. From the 1930s he made paintings, said to be in an expressionist style, but eventually destroyed all these works. In the 1940s he first worked in a surrealist mode before developing his mature style. This is characterized by areas of color separated by thin vertical lines, or "zips" as Newman called them. In the first works featuring zips, the color fields are variegated, but later the colors are pure and flat. Newman himself thought that he reached his fully mature style with the Onement series (from 1948).

Career:

Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases - Anna's Light (1968), named in memory of his mother who had died in 1965, is his largest work, twenty-eight feet wide by nine feet tall. Newman also worked on shaped canvases late in life, with Chartres (1969), for example, being triangular, and returned to sculpture, making a small number of sleek pieces in steel. These later works are executed in acrylic paint rather than the oil paint of earlier pieces. Of his sculptures, Broken Obelisk is the most mammoth and perhaps best-known, depicting an inverted obelisk whose point balances on the apex of a pyramid.

Newman also made a series of lithographs, the 18 Cantos (1963-64) which, according to Newman, are meant to be evocotive of music. He also made a small number of etchings.

Newman is generally classified as an abstract expressionist on account of his working in New York City in the 1950s, associating with other artists of the group and developing an abstract style which owed little or nothing to European art. However, his rejection of the expressive brushwork employed by other abstract expressionists such as Clyfford Still and Mark Rothko, and his use of hard-edged areas of flat color, can be seen as a precursor to post painterly abstraction and the minimalist works of artists such as Frank Stella.

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