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Sublimno v teoriji in slikarstvu Barnetta Newmana
ID Černohorski, Anabel Karolyn (Author), ID Vidrih, Rebeka (Mentor) More about this mentor... This link opens in a new window

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Abstract
V magistrski nalogi se posvečamo esejem Barnetta Newmana – njegovim razmišljanjem o umetnosti – in njegovemu slikarstvu s poudarkom na sublimnem. Kako pojem razumemo v luči Newmanovega pisanja in kako ga interpretiramo na podlagi izbranih del, predstavljata dve od osrednjih raziskovalnih zanimanj. Najprej ločeno obravnavamo pojem sublimnega oziroma vzvišenega v kronološkem vrstnem redu. Izpostavljamo prvo omembo v antičnem besedilu O vzvišenem ter dve teoriji iz 18. stoletja, ki sta pomembno vplivali na razumevanje in (kasnejše) interpretacije pojma: delo Edmunda Burka Filozofsko preiskovanje izvora naših idej o vzvišenem in lepem (1757) ter Analitiko sublimnega, ki se nahaja v Kritiki razsodne moči (1790) Immanuela Kanta. Sledi obravnava Newmanovega kratkega besedila Sublimno je zdaj iz leta 1948, ki je spodbudilo zanimanje za pojem v povezavi z določenim delom povojne ameriške abstrakcije, kar dokazuje nastanek umetnostnozgodovinskega termina abstraktno sublimno. Besedilo Sublimno je zdaj umeščamo v kontekst njegovega nastanka, tako kulturnozgodovinsko kot tudi znotraj umetnikovega teoretskega opusa iz tega časa. V njem razbiramo umetnikovo utemeljevanje umetnosti, kot jo ustvarjajo avtor in ožji krog abstraktnih ekspresionistov, kateremu pripada. Znotraj modernističnega okvira Newman izpostavlja abstraktni likovni izraz in pripisuje velik pomen vsebini, ki naj bi v veliki meri razlikovala njihovo umetnost od drugih (denimo evropske abstraktne umetnosti, kot jo avtor tolmači), in pri tem izjavlja »Sublimno je zdaj«. Eseji in drugi Newmanovi zapisi so nastajali sočasno z umetnikovim intenzivnim umetniškim raziskovanjem. Drugi del naloge je posvečen slikarstvu in je prav tako zastavljen kronološko. Njegovo prvo poglavje je namenjeno Newmanovemu zgodnjemu opusu in obdobju do slike Onement I, s katero je našel svoj lasten izraz, ki ga je do takrat zavzeto iskal. Sliki Onement I, ki velja za prelomno, posvetimo samostojno poglavje. Zadnje slikarsko poglavje je posvečeno Newmanovi sliki velikih dimenzij Vir Heroicus Sublimis (1950–1951), nastali dve leti po objavi besedila Sublimno je zdaj, ki jo pisci pogosto interpretirajo z ozirom na pojem sublimnega. Obe izpostavljeni sliki predstavljata ključ za razumevanje Newmanovega slikarskega izraza v splošnem. Omogočata fenomenološko branje (osredotočeno na percepcijo gledalca), ki se v primeru slik večjih dimenzij najprepričljivejše približa sublimnemu.

Language:Slovenian
Keywords:sublimno, Barnett Newman, abstraktno slikarstvo, abstraktni ekspresionizem
Work type:Master's thesis/paper
Organization:FF - Faculty of Arts
Year:2023
PID:20.500.12556/RUL-152952 This link opens in a new window
COBISS.SI-ID:183183619 This link opens in a new window
Publication date in RUL:13.12.2023
Views:751
Downloads:58
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Secondary language

Language:English
Title:The Sublime in Barnett Newman's Theory and Painting
Abstract:
In the master's thesis, we are focusing on Barnett Newman's essays – his reflections on the art – and on his paintings, with an emphasis on the sublime. How we understand the concept of the sublime in the light of Newman's writings and how we interpret it based on the selected artworks are two of the central research interests. Firstly, we consider the concept of the sublime separately, in chronological order. We start in antiquity with the first mentioning of the concept in the treaties On the Sublime. We then continue with two theories from the eighteenth century which significantly influenced the understanding and (later) interpretation of the concept – Edmund Burke's Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) and Immanuel Kant's Analytics of the Sublime (The Critique of Judgment, 1790). This is followed by a discussion of Newman's 1948 short essay The Sublime Is Now, which stimulated interest in relation to a specific type of post-war American abstraction and prompted one art historian to coin a term 'abstract sublime'. The essay Sublime Is Now is placed in the context of its creation, both culturally and historically, as well as within the artist's theoretical oeuvre from that period. In the essay, we can discern the artist’s justification of the kind of art he and his narrow circle of abstract expressionists create. Newman operates in the field of modernism; he promotes the abstract artistic expression and attributes a great importance to the question of the subject matter, which is what distinguishes their art from others’ art (for example, from the European abstract art, as the author interprets it), meanwhile declaring, 'the sublime is now'. The essays and other forms of Newman's writings on art were created in parallel with intense artistic research in the medium of painting. The second part of the thesis is thus dedicated to painting and is also chronologically ordered. The first chapter is devoted to Newman's early artistic practice, from the sheer beginnings up to the painting Onement I, with which Newman found his own expression that he had been intensively searching for until then. We will devote a separate chapter to this ground-breaking artwork. The last chapter is dedicated to Newman's monumental Vir Heroicus Sublimis (1950–1951), created two years after the publication of the essay The Sublime Is Now, which scholars often interpret in relation to the sublime. Both highlighted paintings represent the key to understanding Newman's painting expression in general. They enable phenomenological readings of paintings (focused on the viewer's perception), which, in the case of Newman's large format canvases, most convincingly approach the sublime.

Keywords:the sublime, Barnett Newman, abstract painting, Abstract Expressionism

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