Art/ Collection/ Collection/ Art Object

Shimmer Bright

Artist:
Barnett Newman (American, New York 1905–1970 New York)
Date:
1968
Medium:
Oil on canvas
Dimensions:
72 × 84 1/4 in. (182.9 × 214 cm)
Classification:
Paintings
Credit Line:
Gift of Annalee Newman, 1991
Accession Number:
1991.183
Rights and Reproduction:
© 2016 Artists Rights Society (ARS), New York
On view at The Met Fifth Avenue in Gallery 923
the artist, New York (1968–d. 1970); his widow, Annalee Newman, New York (1970–91; her gift to MMA)

New York. M. Knoedler & Co., Inc. "Barnett Newman," March 25–April 19, 1969, unnumbered cat.

Worcester, Mass. Worcester Art Museum. "The Direct Image in Contemporary American Painting," October 16–November 30, 1969, no. 7.

Stedelijk Museum Amsterdam. "Barnett Newman," March 30–May 22, 1972, no. 47.

London. Tate Gallery. "Barnett Newman," June 28–August 6, 1972, no. 46.

Paris. Grand Palais, Galeries nationales. "Barnett Newman," October 10–December 11, 1972, no. 46.

Düsseldorf. Kunstsammlung Nordrhein-Westfalen. "Barnett Newman: Bilder, Skulpturen, Graphik," May 17–August 10, 1997, no. 14.

Houston. Menil Collection. "Barnett Newman: The Late Work, 1965–1970," March 27–August 2, 2015, unnumbered cat. (p. 111).

Lawrence Alloway. "Notes on Barnett Newman." Art International 13 (Summer 1969), pp. 35–36, ill.

Thomas B. Hess. Barnett Newman. New York, 1969, ill. p. 82 (color).

Ellen Hoffman. "Leading American Sculptor, 'Color Painter': Artist Barnet [sic] Newman Dies." Washington Post (July 6, 1970).

Barbara Reise. "The Stance of Barnett Newman." Studio International 179 (February 1970), p. 63, fig. 35 (color).

Thomas B. Hess. Barnett Newman. Exh. cat., Museum of Modern Art, New York. New York, 1971, p. 143, ill.

Peter Plagens. "Zip: Another Magazine Article on Barnett Newman." Art in America 59 (November–December 1971), p. 63.

Lily Mark. "The Relevance of Title to Form and Content in the Mature Work of Barnett Newman." PhD diss., University of Witwatersrand, 1983, pp. 126, 157, 159, 168–70.

Maurice Tuchman in The Spiritual in Art: Abstract Painting 1890–1985. Exh. cat., Los Angeles County Museum of Art. New York, 1986, p. 49.

Lorenz Dittmann. Farbgestaltung und Farbtheorie in der abendländischen Malerei: Eine Einführung. Darmstadt, 1987, p. 413, locates it in a private collection, N.Y.

Lisa M. Messinger in "Recent Acquisitions: A Selection 1990–1991." Metropolitan Museum of Art Bulletin 49 (Autumn 1991), pp. 70–71, ill. (color).

Stephen Polcari. Abstract Expressionism and the Modern Experience. Cambridge, 1991, pp. 204–5, fig. 141.

Barbara Burn, ed. Masterpieces of the Metropolitan Museum of Art. New York, 1993, p. 309, ill. (color).

Harold Rosenberg. Barnett Newman. 2nd ed. [1st ed. 1978]. New York, 1994, fig. 106 (color).

Michael Kimmelman. Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere. New York, 1998, pp. 59–60, ill.

Armin Zweite. Barnett Newman: Paintings, Sculptures, Works on Paper. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Ostfildern–Ruit, Germany, 1999, pp. 141–42, 330, no. 14, ill. p. 155 (installation photo, Exh. Düsseldorf 1997), fig. 56 (color).

Hervé Vanel. "Armin Zweite. Barnett Newman: Paintings, Sculptures, Works on Paper." Les Cahiers du Musée national d’art moderne 75 (Spring 2001), p. 121.

Ann Temkin in Barnett Newman. Ed. Ann Temkin. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2002, p. 67.

Heidi Colsman–Freyberger. "Catalogue Raisonné." Barnett Newman: A Catalogue Raisonné. New York and New Haven, 2004, p. 345, no. 109, ill. (color).

Carol Mancusi-Ungaro. "Barnett Newman's Pilgrimage in Paint." Reconsidering Barnett Newman: A Symposium at the Philadelphia Museum of Art. Ed. Melissa Ho. Philadelphia, 2005, pp. 72, 80 n. 14.

Michelle White in Barnett Newman: The Late Work, 1965–1970. Exh. cat., Menil Collection. Houston, 2015, p. 45, ill. p. 111 (color).

Bradford A. Epley in Barnett Newman: The Late Work, 1965–1970. Exh. cat., Menil Collection. Houston, 2015, pp. 75, 77 n. 19, identifies this painting as a rare example of the artist's application of paint in horizontal strokes, as opposed to his usual vertical strokes, and posits that it was initially intended to be vertical; notes that the artist returned to oil paints for this work after using mostly acrylic, adding that the title is "highly descriptive of the visual difference oil has from acrylic".

Éric Valentin. Barnett Newman: Splendeur mystique et horreur absolue. Paris, 2015, p. 18.



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