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Index
Richard Shiff, Carol C. Mancusi-Ungaro, Heidi Colsman-Freyberger
Description: Barnett Newman: A Catalogue Raisonné
Barnett Newman: A Catalogue Raisonné
Index
Author
Richard Shiff, Carol C. Mancusi-Ungaro, Heidi Colsman-Freyberger
PublisherYale University Press
Copyright© 2004 by The Barnett Newman Foundation, New York
Stable URL: https://aaeportal.com/?id=-20963
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Index
Abraham, 103 n. 305
Abraham (BNF 23), 20, 21, 67, 122–23, 123, 125, 129, 134, 139 nn. 25, 40; 190, 191; figs. 21, 86, 92
Abrams, Harry N., 497
abstract, art of the, 16, 30, 34
Abstract and Surrealist American Art exhibition (Chicago, 1947), 107 n. 71
abstract art, 4, 10, 11, 17, 21, 24, 25, 26, 27, 30, 32, 70, 82, 95 n. 85, 98 n. 168, 102 nn. 282, 283; 104 n. 9, 106 n. 36; vs. abstraction, 29–30
non-objective, 3, 4, 6, 92 n. 8
abstract expressionism, 12, 41, 53, 72, 101 nn. 228, 249; 102 n. 286
abstraction, 24–30, 31, 32, 34–35, 40, 49, 69, 70, 83, 95 n. 83, 98 n. 172, 100 n. 197, 102 n. 284
formal or reductionist, 29–30, 32
abstractionists, 30, 81, 93 n. 21, 95 n. 85
abstract thought-complex, 27, 28
A.C.A. Gallery, New York, Can We Draw? exhibition (1938), 50
Achilles (BNF 57), 246, 247
Action painters, 69, 110 n. 164. See also gestural painting
Adam (BNF 54), 17, 20, 62, 67, 94 n. 71, 139 n. 25, 140 n. 65, 240, 241; fig. 21
Adorno, Theodor, 40
aestheticism, 5, 15, 28, 71, 106 n. 58. See also beauty; quality
African primitive art, 81
Aldrich, Larry, Museum. See Larry Aldrich Museum
Alloway, Lawrence, 17, 21, 22, 44, 6364, 97 n. 134, 102 n. 270, 104 n. 15, 105 n. 32, 107 n. 75, 110 n. 158, 127–28, 136
American Abstract Expressionists and Imagists exhibition (New York, 1961), 58
American artists, 8, 99 n. 187
American Expressionism, 92 n. 9
American Indian (Native American) art, 27–29, 98 n. 174, 100 n. 197
Hopewell earthworks, 12, 80, 81, 87, 115 nn. 75, 76; figs. 69, 70
Kwakiutl and Northwest Coast, 27, 27, 28, 28–29, 30, 87, 99 nn. 193, 195; figs. 31, 32
American Scene painting, 3, 4, 16–17
anarchists, 32
ancestral figures, Ambryn Island, New Hebrides (Vanuatu), 82; fig. 71
Anco stretchers, 117–18, 118, 135; fig. 79
Anfam, David, 103 n. 305
Anna’s Light (BNF 107), 54, 66, 89–90, 90, 108 n. 96, 129, 133, 138, 140 n. 93, 141 nn. 106, 135; 339, 342–43; fig. 76
Answer (magazine), 98 n. 176
Antonio, Emile de, 43, 48, 103 n. 301
Aqua-tec, 130
Argos (BNF 32), 124, 208, 208–9
Armenian genocide, 85, 114 n. 58
art: intuitive, 32
lack of commitment to, 4, 11
vs. militarism, 28–29
as a miracle, 95 n. 98
as moral judgment, 6, 12, 31, 93 n. 14
nationalism in, 107 n. 61
vs. nature and artifact, 3, 87
purpose of, 84
as risktaking, 4, 6, 92 n. 10
art history, 42
Art Institute of Chicago, Abstract and Surrealist American Art exhibition (1947), 107 n. 71
artist: high calling of, 28–29
as a moral actor, 15, 52, 75
social functions of, 90–91
art object. See object
Art of This Century Gallery, New York, Zarnower exhibition (1946), 30, 31; fig. 33
Arts of the South Seas exhibition (New York, 1946), 81, 82–83
BN’s review of, 81–83, 100 n. 222, 112–13 n. 32
Art Students League, 8
atheists, 32
atmosphere in painting, 63
atomic bomb. See Bomb
atonement, 46, 47, 49, 105 nn. 27, 28, 33, 34
Auder, Michel, 8; fig. 9
automatic writing, 107 n. 70
automatism, 51, 53, 58, 108 n. 76
avant-garde movements, 3, 6, 49, 84, 95 n. 83
Avery, Milton, 50, 52–53, 107 nn. 68, 69; 108 n. 81
Red Umbrella, 52, 53; fig. 50
Baker, Elizabeth C., 88
Barclay, Marion, 141 n. 135
Barnes, Albert, 94 n. 53
Barnett Newman: The Stations of the Cross exhibition (New York, 1966), 30
Barr, Alfred H., 70, 105 n. 29
Basel Kunsthalle (now Kunstmuseum) venue (1958), 20, 20–21, 22; fig. 21
Baudelaire, Charles, 101 n. 264, 124
BBC interview (1965), 35. See also Sylvester, David: interview with BN
Be I (BNF 34), 54, 134, 135, 139 n. 25, 139–40 n. 44, 212, 213; fig. 96
Be I (Second Version) (BNF 116), 54, 358, 359
Be II (BNF 88), 18, 273, 308, 309
beauty, 29, 39, 77, 112 n. 17
economy of, 16
lure and problem of, 28, 35, 71
Beginning, The (BNF 4), 61, 107 n. 71, 119, 120, 154, 155
X-radiograph view, 120, 120; fig. 82
Behlen’s, 126
Bell, Clive, 27
Benedict, Ruth, 113 n. 40
Bennington College, BN retrospective exhibition (1958), 19, 20, 21, 36, 97 n. 139; fig. 20
Benton, Thomas Hart, 3
Ballad of the Jealous Lover of Lone Green Valley, 3, 4; fig. 2
Berkson, Bill, 544
Bernard, Harold, 93 n. 28
Betty Parsons Gallery, New York, 96 n. 101, 530
exhibitions (1949), 97 n. 136; (1950), 13, 19, 20, 26, 46, 90, 94 n. 69, 102 n. 270, 105 n. 30, 115 n. 82, 133, 134, 136, 141 n. 152; fig. 96; (1951), 19, 2.0, 46, 105 n. 30; (1955), 13
birds, 106 n. 58, 107 n. 75, 115 n. 92
Black Fire I (BNF 77), 128–29, 133, 135 288, 289
Blessing, The (BNF 126), 373, 373
Bloom, Sol, 113 n. 39
Boas, Franz, 99 n. 193
Boas, George, 92 n. 13
Bochner, Mel, 68, 85–86, 114 n. 65, 139 n. 14
48" Standards (#9), 68, 68, 114 n. 66; fig. 62
Bocour, Leonard, 121, 130
Bocour Artist Colors, 121, 130
Bois, Yve-Alain, 108 n. 96, 124
Bomb (atomic bomb), 15, 27, 29, 31, 47, 71, 75, 77, 82, 83, 84, 90, 111 nn. 184, 1; 113 n. 47
Bikini test, 82, 113 n. 39
Boyle, John, and Company, New York, 119, 139 n. 14
Braque, Georges, 122
Brazil, place and terrain in, 88–89
Broken Obelisk, sculpture (BNF 254), 86, 108 n. 106, 112 n. 16, 506–10, 506, 507, 508, 509, 510, 511
Broken Obelisk, drawing (BNF 325), 547, 547
Buchanan, Scott, 100 n. 199
Bucharest exhibition (1969), 530
Buchenwald, 114 n. 52
Bunting, Basil, Collected Poems, 546
BN’s dust-jacket illustration for (BNF 322), 546
Burke, Edmund, 70, 110 n. 179
By Twos (BNF 21), 47, 120, 139 n. 25, 186, 187; fig. 45
verso view, 118, 118; fig. 80
Byzantine art, 113 n. 40
Campbell, David Houghton, 107 n. 75
Canto I (BNF 207), 456, 456
Canto II (BNF 208), 457, 457
Canto III (BNF 209), 458, 458
Canto IV (BNF 210), 459, 459
Canto V (BNF 211), 460, 460
Canto VI (BNF 212), 461, 461
Canto VII (BNF 213), 462, 462
Canto VIII (BNF 216), 464, 464
Canto IX (BNF 217), 465, 465
Canto X (BNF 218), 63, 466, 466
Canto XI (BNF 219), 63, 467, 467
Canto XII (BNF 220), 63, 468, 468
Canto XIII (BNF 221), 63, 469, 469
Canto XIV (BNF 222), 470, 470
Canto XV (BNF 223), 471, 471
Canto XVI (BNF 224), 472, 472
Canto XVII (BNF 225), 473, 473
Canto XVIII (BNF 226), 474, 474
Can We Draw? exhibition (New York, 1938), 50
Carnegie Bicentennial International Exhibition (Pittsburgh, 1958), 21
Cartier-Bresson, Henri, 132
Castleman, Riva, 485
Cathedra (BNF 51), 21, 124, 129, 135, 136–37, 236–38, 236–37; fig. 22
Cézanne, Paul, 8, 9, 13, 34, 36, 94 n. 44
Bathers (Les Grandes Baigneuses), 36, 37; fig. 37
Milk Can and Apples, 8, 9; fig. 11
chaos, 6, 10, 61
Chartres (BNF 112), 13, non. 152, 138, 350, 351
Christensen, Dan, 132
Christmas greetings to Betty Parsons (BNF 285), 538, 538
classicism, 16
Cohen, Bernard, 93 n. 28
Cohen, Harold, 35, 93 nn. 28, 29
Cohen, Morris Raphael, 97–98 n. 158, 98 n. 176, 99 n. 187, 102–3 n. 287
Cold War, 14, 29, 31, 113 n. 39
collage, 28
color, 13, 53, 60
Columbia University student protests, 5, 6
Command, The (BNF 8), 46, 52, 63, 162, 163
Concord (BNF 20), 20, 109 n. 114, 123, 123, 134, 184, 185; figs. 21, 87
construction, 34
constructivism, 4, 11, 30, 31
content, pictorial, 33–34
Cor-Ten steel, 56
Country Studio (BNF 262), 530
Covenant (BNF 25), 13, 14, 47, 194, 195; figs. 16, 45
Crampton, Rollin, 33
Crawford, Tom, 139 n. 6
criticism, 107 n. 64: objective or “scientific” vs. passionate or humanistic, 16, 17
cubism, 8, 28, 122
cultural revolution, 49
dada, 3–4, 6, 11, 28, 35, 74, 92 n. 8, 95 n. 83, 106 n. 49
Dada, Surrealism, and Their Heritage exhibition (New York, 1968), 51
Dalí, Salvador, 114 n. 56
Davis, Douglas, 44, 48, 49, 67, 68–69, 70, 86, 110 n. 162
The Backward Television Set (Images from the Present Tense), 72, 111 n. 191
Day Before One (BNF 53), 20–21, 22, 67, 124, 239, 239
Day One (BNF 50), 21, 124, 139 n. 25, 234, 235; fig. 22
death, fear of, 71
Death of Euclid (BNF 10), 52, 55, 62, 63, 94 n. 71, 165, 165; fig. 51
verso and detail of stretcher, 117–18, 118; fig. 79
de Kooning, Willem, 8, 13, 21, 30, 34, 36, 65, 93 n. 39, 97 n. 147, 110 n. 162, 111 n. 11, 137, 140 n. 93
Excavation, 65, 65; fig. 59
Painting, 36, 38; fig. 39
Woman, 36, 39; fig. 40
Zurich, 36, 38; fig. 38
depiction, 33–34, 35
Depression, 14, 15, 23
Design for a title page, collage (BNF 306), 543, 543
Design for a title page, lithograph (BNF 307), 543, 543
Design for a title page, pencil (BNF 308), 543, 543
despair, 75, 83, 90
Devoe and Raynolds Company, 122
de Wilde, Edy, 124
dialectical arguments, 26. See also Hegel(ianism); Marx(ism)
Dillenberger, John, 40, 41, 95 n. 80, 98 n. 168, 103 nn. 295, 305; 105 n. 28, 111 n. 194, 112 n. 31
Dionysius (BNF 33), 21, 54, 135, 210, 211; fig. 22
Documenta II exhibition (Kassel, 1959), 135
drawing, act of, 45, 53, 60, 64–65, 102 n. 270, 108 n. 91
Drawing for Frank O’Hara’s Poem “Sleeping on the Wing” (BNF 310), 544, 544
Duchamp, Marcel, 4, n, 95 n. 83
Fountain, 11
L.H.O.O.Q., 4, 4; fig. 3
Dufy, Raoul, 108 n. 81
Duo (BNF 264), 530
Düsseldorf exhibition, installation views (1997), 511, 512
Dust-jacket illustration for Collected Poems by Basil Bunting (BNF 322), 546, 546
Duthuit, Georges, 46–47, 105 n. 34
Dykes Lumber Company, New York, 118
Eames, Charles and Ray, ESU (Eames Storage Unit), 34, 35; fig. 34
egg tempera, 121–22
Egyptian art, 16, 71, 81, 87
18 Cantos, 63, 455
title page and preface (BNF 205, 206), 455, See also the eighteen entries at Canto (BNF 207–213, 216–226)
Einstein, Albert, 27–28, 32, 33, 35, 99 nn. 187, 197
Emerson, Ralph Waldo, 103 n. 305
Emma Lake Artists’ Workshop, Saskatchewan (1959), 33, 87–88, 90, 91, 94 n. 72; fig. 77
End of Silence (BNF 18), 134, 139 n. 25; 180, 181; fig. 96
Epley, Bradford, 138
Ernst, Max, 51, 81, 83, 84, 95 n. 83, 114 nn. 49, 56
Apatrides, 51, 51; fig. 48
Euclidian Abyss (BNF 12), 30, 41, 61, 61–62, 63, 84, 107 n. 71, 168, 169; fig. 57
Euclidean geometry, 66, 99 n. 187
European art, 3, 4, 14, 26, 28, 30, 85, 95 n. 83, 99 n. 187, 113–14 n. 49
Eve (BNF 46), 62, 67, 139 n. 25, 226, 227
existentialism, 44, 47, 106 n. 35
experience, artistic, 40–41
expression: art predicated on, vs. art as object, 105 n. 32; vs. expressionism, 12, 72
expressionism, 12, 33, 72
Factory, The, celebrities from, 8; fig. 9
fantasy vs. reality, 60
Federation of Modern Painters and Sculptors annual exhibition (1943), 100 n. 214
Feeley, Paul, 110 n. 158
feeling, 16, 17, 24, 31
art as, 87
and intuition, 32; vs. sensation, 15, 95 n. 87
fetish, 95 n. 85, 99 n. 188
of quality, 28, 95 n. 85
fictile, as synonym for “plastic,” 27
field painting, 36, 64
Flavin, Dan, 68, 86–87, 114 nn. 65, 68; 117
Untitled (to Charles Cowles), 86, 86; fig. 74
Folio 14 from In Memory of My Feelings: A Selection of Poems by Frank O’Hara (BNF 309), 544, 544
form(s), 41, 42
formalism, 11, 16, 30, 57, 96 n. 120
Fort Ancient, Ohio, earthworks, 12, 80, 81, 87, 115 n. 75; figs. 69, 70
Fourcade, Xavier, 135
Four on Plexiglas multiple edition (Oldenberg, Guston, Newman, and Rivers), 475
The Moment (BNF 227), 475, 475
Frankenthaler, Helen, 97 n. 147
Franklin, George, 139 n. 6
French and Company, New York, Barnett Newman: A Selection, 1946–1952 exhibition (1959), 21, 21, 55, 135, 152; fig. 22
Freud, Sigmund, 15
Freudianism, 15, 51, 95 nn. 85, 86; 107 n. 73
Freudian realism, 4
Fried, Michael, 104 n. 10
Fried, Theodore, Musicians, 100 n. 214
Friedman, B. H., 97 n. 143
Fry, Roger, 27, 94 n. 53
Fulcrum Press, 546
Fuller, R. Buckminster, 115 n. 82
Gagosian Gallery exhibition (New York, 1992), 542
Galaxy (BNF 24), 139 n. 25, 192, 193
Gate, The (BNF 61), 124, 254, 255
Gea (BNF 133), 50–51, 61, 380, 380–81
gender differences, in American Indian cultures, 28, 99 nn. 193, 195, 197
Genesis—The Break (BNF 3), 59, 117, 139 n. 25, 152, 153
Genetic Moment (BNF 11), 117–18, 166, 167
geometric abstraction, 4, 6, 9, 14, 24, 25–26, 28, 34, 57, 92 n. 8
geometry, 60, 66, 99 n. 187
German fascism, 96 n. 107
gestural painting, 21, 22, 36, 97 n. 147. See also Action painters
Getlein, Frank, 132
Giacometti, Alberto, 101 n. 257
Golden, Sam, 130
“good American artists,” 8
Goodnough, Robert, 93 n. 15
Gorky, Arshile, 5, 6, 8, 16, 71, 75, 77, 81, 82, 85, 93 nn. 18, 34; 111 n. 11, 114 n. 58
Nude, 76; fig. 66
Gottlieb, Adolph, 8, 23, 24, 27, 52, 73, 92 n. 10, 93 n. 39, 100 n. 214, 102 n. 285, 107 nn. 68, 71
Augury, 24; fig. 27
String Quartet, 100 n. 214
Gratz, Donald, 56; fig. 53
Greek art and aesthetics, 16, 28, 29, 35, 71, 75, 81, 83, 113 n. 40
Greek drama, 71, 83, 96 n. 108
Greenberg, Clement, 3, 20, 21, 26, 27, 31, 32, 36–38, 45, 46, 47, 57, 58, 64, 67, 70, 86, 96 n. 120, 97 nn. 139, 153; 99 n. 187, 101 nn. 228, 259, 264; 102 nn. 266, 269, 270, 284; 107 n. 69, 108 nn. 81, 105; 110 n. 175, 113 nn. 40, 44; 114 nn. 65, 67; 132
Greenough, Horatio, Bunker Hill obelisk, 112 n. 16
Grosman, Tatyana, BN depicted at the house of, 41, 654; fig. 42, tailpiece
Guggenheim, Peggy, 30, 31; fig. 33
Guggenheim, Solomon R., Museum, New York, exhibitions: American Abstract Expressionists and Imagists (1961), 58
Barnett Newman: The Stations of the Cross—Lema Sabachthani (1966), 126
conversation with Hess held in association with, 17, 18, 30, 32, 67, 104 n. 15, 111 n. 14
Kandinsky memorial retrospective (1945), 24, 98 n. 162
The Shaped Canvas exhibition (1964), 110 n. 158
“survey-show” (1961), 136
Guston, Philip, and Four on Plexiglas multiple edition, 475
Hakone Open-Air Museum, Japan, sculpture built for exhibition at. See Zim Zum I (BNF 258)
Hamilton, George Heard, 107 n. 71
Hare, David, 47
Hayter, Stanley William, 53, 54, 108 n. 89
Hegel(ianism), 26, 43, 98 nn. 175, 176
Heidegger, Martin, 106 n. 35, 112 n. 16
Here I (BNF 252), 55, 56, 77, 78, 112 n. 16, 502, 503
Here I (To Marcia) (BNF 253), 55, 56, 77, 112 n. 16, 504, 504, 505
Here II (BNF 255), 56, 56, 77, 112 n. 16, 512, 512, 513; figs. 52, 53
Here III (BNF 256), 56, 77, 514, 514, 515
Hess, Thomas B., 19–20, 23, 33, 40, 46, 47, 50, 51, 53, 54, 60, 61, 64, 67, 70, 81, 82, 90, 92
headnote and n. 10, 94 nn. 44, 50, 61; 96 n. 133, 99 n. 195, 101 n. 257, 102 n. 284, 103 n. 295, 104 n. 10, 105 nn. 28, 29, 30; 106 nn. 41, 58; 107 nn. 64, 65; 108 n. 87, 110 nn. 153, 164; 112 n. 30, 115 n. 90, 121, 124, 127, 129, 137, 138, 139 n. 40, 141 n. 106
Guggenheim conversation with BN (1966), 17, 18, 30, 32, 67, 104 n. 15, 111 n. 14
Hirohito, 26, 98 n. 175
Hiroshima, 82, 83, 84, 111 n. 1
history, “science of,” 98 n. 175
Hitler, 17, 26, 83, 98 n. 175
Hockney, David, 50, 107 n. 68
American Collectors, 50, 50; fig. 47
Hofmann, Hans, 52
Untitled, 51, 52; fig. 49
Holocaust, 4–5, 15, 30, 84, 114 nn. 52, 57
holy place, 81, 82, 87, 112 n. 16
Hopewell culture, Fort Ancient earthworks, Warren County, Ohio, 12, 80, 81, 87; figs. 69, 70
Horizon Light (BNF 31), 12, 13, 20, 42, 94 n. 72, 134, 206, 206–7; fig. 15
Horton, Caroline, 455
Hulme, T. E., 113 n. 40
Huxley, Julian, 115 n. 92
ideographic writing, 29, 100 n. 205
idol, 28, 99 n. 188
illusionistic realism, 92 n. 8
impressionism, 28, 34, 64–65
Indian art. See American Indian art
individualism, vs. militarism, 100 n. 197
Institute of Religion and Human Development, Houston, Broken Obelisk in situ at, 506, 507
International Klein Blue, 121
intuition, 31–33, 58, 101 n. 230
Janis, Sidney, 95 n. 86, 127
Janis, Sidney, Gallery, New York, New Realists exhibition (1962), 72–73, 111 n. 200
Jericho (BNF 111), 66, 68, 110 nn. 151, 152; 348, 349
Jesus, 84–85
Jewell, Edward Alden, 108 n. 81
Jewish Museum, New York, Recent American Synagogue Architecture exhibition (1963), 542
Jews, 5, 112 n. 26
Johns, Jasper, 94 n. 50, 97 n. 143, 104 n. 10
Joshua (BNF 44), 224, 224
journalistic realism, 4
Judd, Donald, 68, 71, 86
Untitled, 68, 68; fig. 61
Kandinsky, Vasily, 9, 10, 24–25, 26, 29, 31–32, 81, 86
Black Lines (Schwarze Linien), 9, 10; fig. 12
memorial retrospective exhibition (New York, 1945), 24, 98 n. 162
Three Sounds (Drei Klänge), 24, 25; fig. 28
Kaprow, Allan, 70, 114 n. 64
Kierkegaard, Søren, 103 n. 305, 110 nn. 160, 180
King, Martin Luther, Jr., memorial for, 497
Klee, Paul, 101 n. 249
Klein, Yves, 121
Kline, Franz, 21
Knickerbocker Machine and Foundry, Inc., multiple edition printed by. See Moment, The (BNF 227)
Knoedler, M., and Company exhibition (1969), 8, 67, 68, 110 n. 151; fig. 9
Kozloff, Max, 44, 104 n. 10, 108 n. 105
Krasner, Lee, 126
Kropotkin, Peter, 5
Kulicke, Robert, 141 n. 136
multiple edition assembled by, see Moment, The (BNF 227)
Kwakiutl art, 27, 27, 28, 28, 29, 30; figs. 31, 32
Lace Curtain for Mayor Daley (BNF 257), 516, 516, 517
landscape, 13, 53, 87
Langer, Susanne, 95 n. 98
Larry Aldrich Museum, Ridgefield, Connecticut, 530
Lebensztejn, Jean-Claude, 103–4 headnote
Leering, J., 132
Lefebvre-Foinet, Lucien, 121
Lenin, 98 n. 176
Liberman, Alexander, 55, 70, 121, 124, 129, 130
Lichtenstein, Roy, 73
The Refrigerator, 73, 73; fig. 64
Linton, Ralph, 81
Lippincott, Donald, sculptures built by. See Broken Obelisk (BNF 254); Lace Curtain for Mayor Daley (BNF 257); Zim Zum I (BNF 258); Zim Zum II (BNF 259)
Liquitex, 130
Longinus, 112 n. 17
Louchheim, Aline, 102 n. 270, 108 n. 81
Louis, Morris, 94 n. 69
lovers, fate of, 50, 70–71
Lowry, Bates, 122
Lucite, 124
Lukin, Sven, 110 n. 158
MacArthur, Gen. Douglas, 105 n. 30
magic, 82–83
Magloff, Joanna, interview with BN (1963), 73–74, 92 nn. 4, 9; 104 n. 10, 114 n. 53
Magna Color, 121, 126, 128, 139 nn. 32, 40
Makom, 112 n. 26
Malevich, Kazimir, 9, 10, 11, 29, 31–32
Suprematist Composition: White on White, 9, 10; fig. 13
Mancusi-Ungaro, Carol C., 108 n. 96
Mangold, Robert, 68, 78, 86
Brown Wall, 78, 78; fig. 67
Mark, Lily, 105 n. 28
Marsden, Brice, 108 n. 91
Martin, Agnes, 16, 96 n. 101
Marx(ism), 43, 51, 98 n. 175, 176; 107 n. 73
masking tape, 54
Matisse, Henri, 13, 47, 52, 81, 108 n. 81, 110 n. 175
Goldfish and Palette, 13, 14; fig. 17
Matisse, Pierre, 46–47
Matt, D., 141 n. 138
Mayer, John, Company, New York, 117
McNickle, Mollie, 100 n. 199
Meier, Richard, building of architectural model supervised by. See Model for a synagogue (BNF 260)
“meta” (the metaphysical or the “beyond”), 3, 8, 9, 15, 16, 22, 30, 39, 40, 44
Miamisburg, Ohio, earthworks, 87, 115 n. 75
Michelangelo, 42
Midnight Blue (BNF 117), 54, 132, 133, 360, 361
minimalism, 68–69, 72, 108 n. 105
Minneapolis exhibition (1950), 530
Miró, Joan, 40, 102 nn. 284, 285
Acrobatic Dancers, 40, 40; fig. 41
Model for a synagogue (BNF 260), 526, 526, 527
modern art, 8, 11, 28, 34, 77, 123
Modern Art Foundry, sculpture cast by. See Here I (To Marcia) (BNF 253)
modernist masters, 81
Moment (BNF 7), 46, 48, 52, 59, 63, 109 n. 116, 120, 160, 161
Moment, The, multiple (BNF 227), 475, 475
Moment I, The (BNF 82), 72, 297, 297–98
Moment II, The (BNF 113), 352, 353
Mondrian, Piet, 9, 10, 24–26, 27, 29, 30, 31–32, 34–35, 36, 60, 81, 98 nn. 168, 172; 99 n. 187, 101 nn. 249, 257; 112 n. 18
Composition in Color A, 9, 11; fig. 14
Composition Number 1, with Red and Black, 25, 25; fig. 30
Compositions, 92 n. 8
memorial retrospective exhibition (New York, 1945), 24, 98 n. 162
Trafalgar Square, 35, 35; fig. 35
Trees, 25, 25; fig. 29
Montale, Eugenio, 17
moral chaos and moral crisis, 6, 15
moral acts and moral judgment, 5, 6, 31, 52, 75, 93 n. 14
morality, 5, 12, 73; vs. science, 6
Morris, Robert, 72
Motherwell, Robert, 8, 30, 47, 48, 49, 72, 73, 92 n. 8, 93 n. 39, 101 n. 249, 102 nn. 282, 283; 106 nn. 36, 42, 49
multiples, 55, 475
Multiples Press, Inc., Four on Plexiglas multiple edition, 475
BN’s contribution, see The Moment (BNF 227)
murals, 112 n. 26
canvases scaled like, 8
Murch, Walter, 95–96 n. 98
Murray, Robert, 55, 78, 86, 88, 90, 91, 94 n. 72, 98 n. 168, 105 n. 30, 108 n. 103, 110 n. 161, 114 n. 64, 117, 119, 121, 125, 126, 129, 133, 134–35, 136, 139 n. 23; fig. 77
model built by, see Model for a synagogue (BNF 260)
Prairie, 78, 79; fig. 68
Museum of Modern Art, New York
acquisitions: Abraham (BNF 23), 21
The Voice (BNF 37), 121–22
exhibitions: Arts of the South Seas (1946), 81, 82–83
Dada, Surrealism, and Their Heritage (1968), 51
The New American Painting (1958–59), 20
Basel venue, 20; fig. 21
London venue, 21
Piet Mondrian memorial retrospective (1945), 24, 98 n. 162
publication, Frank O’Hara, In Memory of My Feelings: A Selection of Poems, 544, 544
BN’s illustration and exploratory drawings for (BNF 309–320), 544, 544–545, 544–545
Mussolini, 26, 98 n. 175
mystic, vs. mysticism, 103 n. 295
Nagasaki, 82
Name I, The (BNF 29), 121, 139 n. 32, 202, 203
Name II, The (BNF 38), 121, 121, 125, 139 n. 33, 218, 219; fig. 84
Native American art. See American Indian art
naturalism, 33, 82, 87
abstraction as, 25–26
nature, 60, 61, 67, 87, 102 n. 284, 110 n. 180
Nazis, 5, 84, 114 n. 52
New American Painting, The exhibition (1958–59), 20
Basel venue (1958), 20, 20; fig. 21
London venue, 21
Newark, Ohio, earthworks, 87, 115 n. 75
Newman, Annalee, 20, 41, 41, 44, 48, 52, 85, 88, 90, 94 n. 69, 95 n. 85, 96 n. 108, 97 n. 158, 103 n. 289, 106 n. 43, 107 nn. 66, 70; 112 nn. 16, 24; 113 nn. 40, 49; 117, 118, 119, 121, 122, 124, 130, 132, 134, 135, 136, 140 n. 76, 141 nn. 108, 135; fig. 42
cookbook of, recipe for ground preparation from, 119, 119, 139 n. 20; fig. 81
lithographic set dedicated to, see 18 Cantos (BNF 205–226)
Newman, Barnett
as an anarchist, 14, 16, 23, 28, 33, 43, 47, 50, 79, 85, 90, 93 n. 20, 97 n. 145
architectural model. See Model for a synagogue (BNF 260)
Avery’s influence on, 52–53
background in tailoring, 93 n. 33, 109 n. 109
books owned or read by, 47, 95 n. 85, 107–8 n. 75, 108 n. 76, 113 n. 40, 115 n. 92. See also the backmatter section of this book “Barnett Newman’s Library”
as both painter and writer, 32–33, 117
City College background, 97–98 n. 158, 99 n. 187, 100 n. 199, 103 n. 287
as a conscientious objector, 100 n. 197
as a critic, 32
of Avery, 52
on critics, 107 n. 64. See also below, subentry writings
criticism and evaluation of, 19–20, 22, 33, 36, 38, 39, 40, 42, 57–58, 67–69, 70, 72–73, 108 n. 105, 132, 133
posthumous reputation, 42
depicted (in chronological order): (ca. 1932–34) at Grover Cleveland High School, 23; fig. 26
(1950) at Betty Parsons Gallery, 19, 133, 134; fig. 96
(early 1950s) in his studio, 123; fig. 86
(1951) at Betty Parsons Gallery, 18; fig. 19
(1951 and ca. 1951) in his studio at no Wall Street, 47, 129; figs. 45, 92
(1959) at Emma Lake, Saskatchewan, 91; fig. 77
(ca. 1961) in his studio, 2; fig. 1
(1965) at Treitel-Gratz Company foundry, 56; figs. 52, 53
in his West End Avenue apartment, 55; fig. 51
(1968) in his 100 Front Street studio, 130; fig. 93
at the house of Tatyana Grosman, 41, 614; fig. 42, tailpiece
(1969) at M. Knoedler and Company show, 8; fig. 9
(ca. 1969) in his White Street studio, 116; fig. 78
(undated, ca. 1969–70) stretching a canvas, 128; fig. 91
(late 1960s) studio portrait, ii; frontispiece
depicted (in page order), ii, 2, 8, 18, 23, 41, 47, 55, 56, 91, 116, 123, 128, 129, 130, 134, 654; figs. 1, 9, 19, 26, 42, 45, 51, 52, 53, 77, 78, 86, 91–93, 96, frontispiece, tailpiece
drawings and sketches, 45, 50, 51–52, 53, 54, 63, 107 n. 70
masking-tape effects, 58. See also the catalogue sections “Drawings” (BNF 119–201), pp. 365–449, and “Ephemera” (BNF 270–329), pp. 534–48
exhibition curated by, Can We Draw? (New York, 1938), 50
exhibitions, group: Abstract and Surrealist American Art (Chicago, 1947), 107 n. 71
American Abstract Expressionists and Imagists (New York, 1961), 58
Betty Parsons Gallery (1949), 97 n. 136; (1955), 13
Carnegie Bicentennial International (Pittsburgh, 1958), 21
Documenta II (Kassel, 1959), 135
The New American Painting (Europe and New York, 1958–59), 20, 20, 21; fig. 21
São Paulo Bienal (1965), 11, 88, 94 n. 57, 95 n. 85
The Shaped Canvas (1964), non. 158. See also the backmatter section of this book “Exhibition History”
exhibitions, solo: Bennington College retrospective (1958), 19, 20, 21, 36, 97 n. 139; fig. 20
Betty Parsons Gallery (1950), 13, 19, 20, 26, 46, 90, 94 n. 69, 102 n. 270, 105 n. 30, 115 n. 82, 134, 136, 141 n. 152; fig. 96; (1951), 18, 19–20, 46, 105 n. 30, 133; fig. 19
French and Company retrospective (1959), 21, 21, 55, 135, 152; fig. 22
Knoedler and Company (1969), 8, 67, 68, 110 n. 151; fig. 9
posthumous retrospective (1971), 135. See also the backmatter section “Exhibition History”
graphic works. See the catalogue section “Graphics” (BNF 202–251), pp. 452–99
heart attacks (1957), 20, 85; (1970), 14
as heroic, 44
income-tax strategies, 97 n. 158, 132, 135
individuality of, 8
influence of, 44, 68, 69, 72, 77–78, 86, 114 n. 65
interest in birds, 106 n. 58, 107 n. 75, 115 n. 92
as a Jewish artist, 114 n. 57, 136
painting owned by, Avery’s Red Umbrella, 52, 53; fig. 50
patent application for stretcher joint, 119
period of withdrawal, 20, 97 n. 134
relation to various schools and styles, 11–12
abstract art, 9, 10, 11, 52, 69, 102 n. 285, 110 n. 162
action painting, 69, 110 n. 164
field painting, 64
genre painting, 9
“good American artists,” 8, 9
landscape, 13, 53, 87
minimalism, 68, 69, 72
modern art, 11
New York school, 8, 9, 12, 93 n. 39
romanticism, 16, 19, 44, 100 n. 222
surrealism, 11, 50 51, 102 n. 285, 107 nn. 70, 71, 73
technical virtuosity, 11
sculpture, 55, 96 n. 119, 105 n. 21, 115 n. 94. See also the catalogue section “Sculptures” (BNF 252–259), pp. 501–23
studios, 129
Carnegie Hall, 129
Front Street (1952–68), 6, 7, 129, 130; figs. 6, 8, 93
Wall Street (195052), 47, 129, 129; figs. 45, 92
White Street (1968–70), 129, 131; figs. 94, 95
support for other artists, 68, 78, 110 n. 161, 114 n. 65
as a talker (conversations, talks, interviews), 16, 18–19, 41, 49, 96 n. 102
BBC interview with Sylvester (1965), 17, 35–36, 39, 62, 64, 77, 93 n. 29, 12–5
Guggenheim Museum conversation with Hess (1966) 17, 18, 30, 32, 67, 104 n. 15, 111 n. 14
Hunter College lecture (1962), 15, 16, 102 n. 270, 112 n. 16
interview with Davis (1969), 48, 49
interview with Slate (1963), 109 n. 117
at Woodstock Art Conference (1952), 3, 4–5, 35, 43, 49, 61, 73, 87, 92 n. 13
as a teacher and “not-teacher,” 23, 23, 32, 33, 39; fig. 26
at Emma Lake Artists’ Workshop (1959), 33, 87 88, 90, 94 n. 72
“The Subjects of the Artist” school, 47, 106 n. 36
travels: Brazil (1965), 88
Cape Cod (1944, 1945, 52
Europe (1964), 121
Ohio (Indian earthwork sites) (1949), 12, 81, 87
Saskatchewan (1959), 87–88
West End Avenue apartment, 55, 60; figs. 51, 56
writings, 18, 19, 23, 24, 25, 30, 32–33, 49, 84
“Art of the South Seas” (1946), 81–83, 100 n. 222, 112 13 n. 32
“The First Man Was an Artist” (1947), 77, 87, 100 n. 199
foreword in Zarnower exhibition brochure (1946), 30
“New Sense of Fate” (1947–48), 71, 75, 81, 83, 84, 101 n. 257, 111 nn. 182, 184, 185
“The Object and the Image” (1948), 26, 111 n. 185
“Ohio, 1949,” 87, 109 nn. 116, 119
“The Plasmic Image” (1945), 27, 28, 108 n. 89
poems, 50, 107 nn. 61, 66
“Prayer” (1945), 50, 71, 106 n. 35, 107 n. 61
for São Paulo Bienal catalogue (1965), 44, 95 n. 85
Selected Writings and Interviews (1990), 86
“The Sublime Is Now” (1948), 39, 77, 85, 99 n. 189, 101 n. 249, 110 n. 179
“Surrealism and the War” (1945), 83
Newman, Barnett, paintings
anger aroused by and vandalism to, 20, 22, 97 n. 151, 136
care, conservation, and restoration issues, 133–37
restretching and remounting, 135
shipping, 133–34
traveling frames, 134, 135
features: brushwork, 54–55, 108 n. 96, 120, 123, 123; fig. 87
color, 13, 125, 130
exposed canvas, 65, 70, 119, 125–26, 129
exposed ground, 54
large scale, 67, 125, 136
line, 64, 109 nn. 145, 150; 120
modulated, nuanced surfaces, 22, 63–64, 124, 137
rejection of frames, 119, 134–35
shaped canvases, 67, 110 n. 152, 118
signature, 13
streaks of light, 61, 63, 73, 109 n. 135
taped edges, 134–35, 141 n. 135
titles, 43, 46, 105 nn. 29, 30
“top” marked, 120, 120, 139 n. 25; fig. 83
verticality, 12–13, 53
“zip,” 42, 45, 48, 59, 64, 89, 104 nn. 15, 16; 109 n. 135, 120, 121, 122–23, 128, 133, 137
materials, 6, 8, 57, 117, 120–21, 128, 130, 137; fig. 6
acrylic emulsion paint, 121, 130, 132
canvas, 119
colors, 121, 130
commercial stretchers, 117–18, 118; fig. 79
egg tempera, 121–22
enamel paint, 122
Magna Color, 121, 126, 128, 139 nn. 32, 40
oil paint, 121, 132
Rivit Glue, 12627, 140 nn. 76, 82, 87
synthetic lacquer, 122
varnishes, 124–25
techniques, 55, 59, 63, 105 nn. 20, 21; 117, 119, 121, 137–38, 139 n. 23
alterations in orientation, 120
coats and layers, 120, 123, 137 38, 140 n. 44
combining acrylic and oil, 132, 137
corrugated cardboard insertions, 120, 120, 139 n. 24; fig. 82
masking-taped areas, 54, 55, 57, 58, 59, 108 n. 95, 108–9 n. 109, 109 nn. 112, 114; 119–20, 128, 134–35
priming canvas, 119
stretcher making and design, 117, 118–19, 120
shrinking canvas, 8, 70, 93 n. 33, 117, 125, 140 n. 76
white ground, 119, 119; fig. 81
tools, 123, 128, 137
brushes, 138; fig. 98
palette knife, 128
scrub brush, 126
spray gun, 124
tweezers, 132
See also the catalogue sections “Paintings” (BNF 1–118), pp. 147–363); “Unidentified Works” (BNF 261–265), p. 530; and “Unfinished Paintings” (BNF 266–269), pp. 531–33
new realism, 72–73, 111 n. 200
New Realists exhibition (New York, 1962), 72–73
New York abstraction, 52
New York Central Supply Company, 124, 139 n. 14
New York painters, 9, 12, 85
Nietzsche, Friedrich, 93 n. 18, 96 n. 108
Noland, Kenneth, 21, 94 n. 55
Song, 21, 22; fig. 23
non-objective art, 3, 6, 10, 92 nn. 4, 8
Noon-Light (BNF 78), 126, 129, 135–36, 290, 291
Northwest Coast Indian art, 27, 27, 28, 28–29, 30, 99 nn. 193, 195; figs. 31, 32
Note I (BNF 228), 63, 476, 477
Note II (State I) (BNF 229), 63, 478, 478
Note II (State II) (BNF 230), 479, 479
Note III (BNF 231), 63, 480, 480
Note IV (BNF 232), 63, 481, 481
Note V (BNF 233), 63, 482, 482
Note VI (BNF 234), 63, 483, 483
Note VII (BNF 235), 63, 484, 485
Note VIII (State I) (BNF 236), 486, 486
Note VIII (State II) (BNF 237), 487, 487
Note IX (State I) (BNF 238), 488, 488
Note IX (State II) (BNF 239), 489, 489
Note IX (State III) (BNF 240), 489, 489
Note X (State I) (BNF 241), 490, 490
Note X (State II) (BNF 242), 491, 491
Note XI (State I) (BNF 243), 492, 492
Note XI (State II) (BNF 244), 493, 493
Note XII (State I) (BNF 245), 494, 494
Note XII (State II) (BNF 246), 495, 495
Notes (series), 63, 476, 495. See also the preceding nineteen entries (BNF 228–246)
Not There—Here (BNF 81), 13, 77, 296, 296
Novalis, 103–4 headnote
Now I (BNF 96), 77, 324, 324
Now II (BNF 102), 77, 86, 132, 141 n. 106, 333, 333
Number 20 (BNF 263), 530
object: and art, 3, 5, 44, 74
BN’s struggle against becoming one, 5, 33, 59, 71, 87
in nature, 87
objective criticism, 5, 10, 16, 94 n. 53
object matter: postimpressionist, 34; vs. subject matter, 33
Oceanic (South Seas) art, 13, 81–82, 83, 87, 113 nn. 39, 44
ancestral figures, Ambryn Island, New Hebrides (Vanuatu), 82; fig. 71
O’Hara, Frank, In Memory of My Feelings; A Selection of Poems, 544, 544
BN’s illustration and exploratory drawings for (BNF 309–320), 544, 544, 545
Oldenburg, Claes, 73
and Four on Plexiglas multiple edition, 475
Onement (series), 73. See also the six entries below (BNF 14, 17, 19, 22, 58, 59)
Onement I (BNF 14), 44, 45, 45–47, 48, 49, 53, 54, 59, 60, 61, 62–63, 64, 66, 67, 71, 73, 74, 75, 77, 82, 84, 86, 101 n. 257, 104 n. 15, 105 nn. 27, 28, 30, 33, 34; 106 nn. 43, 45; 119, 123, 125, 133, 172–74, 173; fig. 44
Onement II (BNF 17), 56, 97 n. 136, 105 n. 30, 178, 179
Onement III (BNF 19), 17, 105 n. 30, 139 n. 25, 182, 183
Onement IV (BNF 22), 21, 135, 188, 189, 530; fig. 22
Onement V (BNF 58), 124, 139 nn. 13, 25; 248, 249
inscription on verso, 120; fig. 83
Onement VI (BNF 59), 2, 57, 58, 78, 123–24, 137, 250, 251; figs. 1, 54
Osis, Karlis, 96 n. 103
Otto, Rudolf, 103 n. 305
Outcry (BNF 69), 85, 126, 268, 268
Pagan Void (BNF 2), 61, 63, 118, 139 n. 9, 150, 151, 530
painting, 15–16, 24, 54, 75, 77, 109 n. 118, 110 n. 164, 117
death of, 43
as drawing, 45, 64–65, 108 n. 91
metaphysics of, 18, 59; vs. paint, 102 n. 270
plasmic, 44
after World War II, 14, 42
paintings: artist’s confrontion or meeting with, 44, 45–46
artist’s self as content, 60
effect of World War II on subjects, 30
open vs. institutional, 48–49
vs. pictures, 15, 16, 95 nn. 90, 92; 101 n. 259
Panofsky, Erwin, 230
Parsons, Betty, 22–23, 30
BN’s Christmas greetings to (BNF 285), 538, 538
Parsons, Betty, Gallery. See Betty Parsons Gallery
Partisan Review, 20, 31, 105 n. 35
Pastel sketch on ruled paper from a spiral-bound notebook (BNF 271), 534, 534
Pastel sketch on ruled paper from a spiral-bound notebook (BNF 272), 535, 535
Pavia, Philip, 55, 108 n. 103
Pearl Harbor, 42
Peirce, Charles Sanders, 40, 102–3 n. 287
Pen-and-ink sketch on paper (BNF 286), 539, 539
Pen-and-ink sketch on paper (BNF 287), 539, 539
Pen-and-ink sketch on paper (BNF 288), 539, 539
Pen-and-ink sketch on paper (BNF 289), 540, 540
Pen-and-ink sketch on paper (BNF 290), 540, 540
Pen-and-ink sketch on paper (BNF 324), 547, 547
Pen-and-ink sketch on paper (recto and verso) (BNF 278), 536, 536
Pen-and-ink sketch on ruled paper with two punch holes (BNF 277), 536, 536
Pencil sketch on an envelope (recto and verso) (BNF 279), 537, 537
Pencil sketch on paper (BNF 291), 540, 540
Pencil sketch on paper (BNF 292), 540, 540
Pencil sketch on paper (BNF 295), 541, 541
Pencil sketch on paper (BNF 296), 541, 541
Pencil sketch on paper (BNF 297), 541, 541
Pencil sketch on paper (BNF 327), 548, 548
Pencil sketch on paper (BNF 329), 548, 548
Pencil sketch on paper (recto and verso) (BNF 270), 534, 534
Pencil sketch on paper (recto and verso) (BNF 275), 535, 535
Pencil sketch on paper (recto and verso) (BNF 282), 537, 537
Pencil sketch on paper (recto and verso) (BNF 326), 547, 547
Pencil sketch on paper with folding creases (BNF 283), 538, 538
Pencil sketch on ruled paper (BNF 293), 540, 540
Pencil sketch on ruled paper (BNF 294), 540, 540
Pencil sketch on ruled paper in a spiral-bound notebook (BNF 280), 537, 537
Pencil sketch on ruled paper with two punch holes (BNF 276), 536, 536
Pencil sketch on ruled yellow paper (BNF 328), 548, 548
performance, 72
Permanent Pigments, 130
phenomenological analysis, 16, 17
Picabia, Francis, 4
I See Again in Memory My Dear Udnie (Je Revois en Souvenir Ma Chère Udnie), 4, 5; fig. 5
Picasso, Pablo, 8, 9, 29, 30, 52, 77, 81, 84, 122
Bread and Fruit Dish on a Table, 8, 9; fig. 10
Guernica, 127
picturesque, 87
Pissarro, Camille, 42
Sunset at Eragny, 42
place, 61, 77, 79–81, 85, 87, 112 nn. 26, 27, 28; 115 nn. 82, 93; vs. environment, 112 n. 26; vs. geography, 88; vs. space, 81
plasmic art, 27, 44
Polk, Brigid, 103 n. 301
Pollock, Jackson, 8, 18, 36, 38, 64, 65, 90, 93 n. 39, 97 n. 143, 101 n. 259, 102 n. 269, 114 n. 55, 122, 125, 126, 127, 129, 137, 139 n. 14, 140 n. 82; fig. 19
One (Number 31, 1950), 64, 64, 125; fig. 58
Sea Change, 117
Poons, Larry, 21
pop art, 72
Portrait of Mark Rothko (BNF 284), 538, 538
Possibilities (journal), 47
postimpressionism, 34
Poussin, 13
Power, Alan P., 87, 93 n. 28, 94 n. 55, 107 n. 68
Pratt Graphic Art Center, editions printed at. See three works designated Untitled (BNF 202–204)
pre-Columbian art, 81. See also Hopewell culture
Preface (to 18 Cantos) (BNF 206), 455, 455
Preliminary drawing for the dust-jacket illustration for Collected Poems by Basil Bunting (BNF 321), 546, 546
Priede, Zigmunds, BN editions printed by, BNF 205–213, 216–226
primitive art, 26, 27, 28, 29, 51, 81, 95 n. 85, 113 nn. 40, 44
drawing as, 53
gender differences, 27–28, 99 nn. 193, 195, 197
primitive cultures, 28
three modes, 81
Primordial Light (BNF 63), 135, 258, 259
printmaking, 55
Profile of Light (BNF 101), 66, 66–67, 68, 141 n. 106, 332, 332–33, 512; fig. 60
product, vs. work of art, 33
profundity, 31–32
Prometheus Bound (BNF 56), 244, 245
Promise, The (BNF 26), 196, 197
Provincetown exhibition (1950), 530
quality, 11
fetish of, 28, 95 n. 85, 99 n. 188
Queen of the Night I (BNF 52), 129, 139 n. 25, 238, 238; fig. 92
Queen of the Night II (BNF 104), 132, 336, 336
Raphael, 13
Rauschenberg, Robert, 97 n. 143
Ravenhill, Alice, 99 n. 193
Read, Herbert, 101 n. 263
realism, 35, 52
primitive, 26
reality, 60, 61
Recent American Synagogue Architecture exhibition (New York, 1963), 542
reflectivity, 56, 85–86, 137; fig. 97
Reinhardt, Ad, 8, 22–23, 93 n. 39, 97 n. 153
Black Painting, 23; fig. 25
Reise, Barbara, 102 n. 270, 112–13 n. 32
religion, 31, 32, 79, 100 n. 224
“Religion and the Intellectuals” symposium (1950), 31
Rembrandt van Rijn, 42
Christ at Emmaus, 42, 42; fig. 43
Renaissance, 81, 113 n. 44
Renaissance naturalism, 83
Richardson, Brenda, 107 n. 70, 108 n. 87
Right Here (BNF 65), 120, 260, 261
Riley, Bridget, 77–78, 98 n. 168
Riley, Orrin, 123, 124, 135, 137
Rivers, Larry, and Four on Plexiglas multiple edition, 475
Rivit Glue, 126–27, 140 nn. 76, 82, 87
romanticism, 16, 31, 100 n. 222
Rosenberg, Harold, 12, 43, 47, 49, 67–68, 69–70, 71, 72, 73, 84, 92, 103 n. 305, 104 n. 15, 106 n. 43, 110 nn. 160, 164; 112 n. 19, 475, 495, 497
Rosenblum, Robert, 104 n. 10
Rosenquist, James, 73
I Love You with My Ford, 73, 73; fig. 65
Rothko, Mark, 8, 13, 22, 24, 27, 36, 52, 73, 92 n. 10, 93 n. 39, 94 n. 69, 97 n. 153, 100 n. 214, 102 nn. 266, 270, 272, 285; 107 n. 71, 108 n. 81, 111 n. 7, 122, 127, 139 n. 14, 141 n. 139
BN’s portrait of (BNF 284), 538, 538
Earth and Green, 13, 15, 36; fig. 18
Rothko Chapel, Houston, 122, 127
Rousseau, Henri, 36, 101 n. 263
The Dream, 36, 37; fig. 36
Rubin, William, 51, 118
Rushing, W. Jackson, 113 n. 40
Russian communism, 96 n. 107
Russian constructivists, 31
São Paulo Bienal (1965), n, 44, 94 n. 57, 95 n. 85
American works from, shown in Washington, 88
Sartre, Jean-Paul, 105–6 n. 35
Schapiro, Meyer, 33
Schneider, Pierre, 105 n. 34
Scholem, Gershom, 46, 105 n. 28
Seckler, Dorothy Gees, 64
self, 17, 44, 50, 59–60, 72, 75, 103 n. 295, 104 n. 9, 115 n. 95, 117
self of the painting, 85–86
vs. soul, 96 n. 118
terror of, 44, 90, 95 n. 85
self-awareness, 44, 75, 77, 90
and place, 87–88
self-evident, vs. abstract expressionist, 102 n. 286
self-knowledge, 110 n. 160
Serra, Richard, 68, 72, 86, 115 n. 93, 133
Strike: To Roberta and Rudy, 68, 69; fig. 63
Shahn, Ben, 107 n. 59
Shaped Canvas, The exhibition (New York, 1964), 110 n. 158
shaped canvases, 118
Shimmer Bright (BNF 109), 133, 345, 345
Shining Forth (To George) (BNF 76), 66, 128–29, 285, 286–87
Singer, Arnold, editions printed by. See three works designated Untitled (BNF 202–204)
Sketches (whereabouts unknown) (BNF 301–305), 542, 542, 543
Sketch in blue ballpoint pen and pen and ink on paper (BNF 299), 542, 542
Sketch in brush and ink and colored crayon on paper (BNF 273), 535, 535
Sketch in felt pen (?), blue ballpoint pen, and pen and ink on onionskin (recto and verso) (BNF 323), 546, 546
Sketch in pen and brush and ink on paper (BNF 274), 535, 535
Sketch in pen and ink and blue ballpoint pen on paper (BNF 300), 542, 542
Sketch in pencil and blue crayon on paper (BNF 298), 541, 541
Sketch in pencil and colored crayon on a folded sheet of typewriter paper (BNF 281), 537, 537
Slate, Lane, 103 headnote
Slaying of Osiris, The (BNF 130), 377, 377
Smith, Brydon, 141 n. 135
Smith, Richard, 110 n. 158
Smith, Tony, 18, 97 n. 139, 115 n. 82; fig. 19
Smithson, Robert, 104 n. 9
Solomon, Alan, 60, 61, 64, 70
Song of Orpheus, The (BNF 129), 376, 376
South Seas art. See Oceanic art
space, 41, 60, 88
declaration of, 59, 60, 65, 88, 109 n. 119, 112 n. 27; vs. place, 81
and time, 87, 102 n. 270, 109 n. 116
tundra effect, 88, 90
tunnel effect, 88
space dome, 88, 89
Spinoza, 32
Sprafkin, Barbara, 117, 125, 126, 139 n. 6
spray gun, 124
Stamos, Theodoros, 99 n. 193
Station, The (BNF 85), 302, 303
Stations of the Cross, The: Lema Sabachthani (series), 17–18, 32, 3536, 39, 62, 65, 70, 84–85, 95 n. 93, 109 n. 150, 119, 125–28, 126, 129, 130, 132, 133, 136, 137, 139 n. 12, 269, 270–73, 308; fig. 88. See also Be II (BNF 88) and the fourteen stations listed individually below (BNF 70–73, 79, 80, 86, 87, 91–93, 95, 97, 98)
Stations of the Cross, The: First Station (BNF 70), 16, 125, 126, 128, 270, 274, 275
Stations of the Cross, The: Second Station (BNF 71), 16, 126, 128, 270, 276, 277
verso, 126; fig. 89
Stations of the Cross, The: Third Station (BNF 72), 126, 128, 270, 278, 279
Stations of the Cross, The: Fourth Station (BNF 73), 125, 270, 280, 281
Stations of the Cross, The: Fifth Station (BNF 79), 63, 127, 127, 128, 140 n. 87, 271, 292, 293; fig. 90
Stations of the Cross, The: Sixth Station (BNF 80), 128, 271, 294, 295
Stations of the Cross, The: Seventh Station (BNF 86), 271, 304, 305
Stations of the Cross, The: Eighth Station (BNF 87), 271, 306, 307
Stations of the Cross, The: Ninth Station (BNF 91), 132, 272, 314, 315
Stations of the Cross, The: Tenth Station (BNF 92), 140 n. 87, 272, 316, 317; verso, 126; fig. 88
Stations of the Cross, The: Eleventh Station (BNF 93), 272, 318, 319
Stations of the Cross, The: Twelfth Station (BNF 95), 127, 128, 272, 322, 323
Stations of the Cross, The: Thirteenth Station (BNF 97), 128, 273, 324, 325
Stations of the Cross, The: Fourteenth Station (BNF 98), 108 n. 95, 128, 140 n. 87, 273, 326, 327
Stella, Frank, 21, 68, 69, 86, 110 n. 158, 114 n. 65
Arbeit macht frei, 21, 22; fig. 24
Stephan, John, 77, 152
Stephan, Ruth Walgreen, 77, 99 n. 189, 152
Steward, Donn, editions printed by. See entries at Notes (BNF 228, 229, 231–246); Untitled Etching 1 (BNF 249); Untitled Etching 2 (BNF 250)
Still, Clyfford, 8, 22, 27, 36, 93 n. 39, 97 n. 153, 99 n. 187, 102 nn. 266, 270
straight lines, 17, 109–10 n. 150
stretchers, 117–19
structuralism, 16
Strzemiński, Władysław, 94 n. 45
Studio in the Country (BNF 261), 50, 530
Studio 35, 106 n. 36
subject matter, 33, 34, 107 n. 73
“Subjects of the Artist, The” school, 47, 106 n. 36
sublime, the, 39, 77, 99 n. 191, 111 n. 10, 112 nn. 18, 19, 32; 115 n. 93
surrealism, 3, 4, n, 14, 33, 40, 50–51, 82–84, 85, 92 n. 8, 95 nn. 83, 85, 86; 97 n. 153, 102 nn. 272, 282; 105 n. 35, 107 nn. 70, 71, 73; 113 nn. 32, 44
surrealists, 52, 81, 83, 84, 99 n. 187, 106 n. 36
Sylvester, David, 40, 72, 101 n. 249
interview with BN (1965), 17, 35, 36, 39, 62, 64, 72, 77, 93 n. 29, 119, 125
symbolism, 99 n. 187
Syverson, Terry, 139 n. 6
Talmey, Allene, 60, 61, 64, 93 n. 21
Tanguy, Yves, 81, 83, 84, 95 n. 83, 114 nn. 49, 56; 113 nn. 40, 47
The Ribbon of Excess, 84, 84; fig. 72
Tate Gallery, London, The New American Painting exhibition venue (1959), 21
Ten exploratory drawings for a Frank O’Hara memorial publication commissioned by the Museum of Modern Art (BNF 311–320), 544, 544, 545
terror, 75, 81–82, 83, 84, 90
of creativity, 113 n. 40
of Self, 44, 90, 95 n. 85; vs. tragedy, 110 n. 160, 111 n. 1
Tertia (BNF 89), 310, 311, 505
thinking, rational vs. logical, 32
Third, The (BNF 83), 63, 298, 299
thought and experience, 40–41
Three, The (BNF 84), 124, 135, 300, 301
Tiger’s Eye, The (journal), 52, 77, 99 n. 189, 101 n. 249, 152
Tillich, Paul, 6, 8
Tillim, Sidney, 39
time, 87, 133
and layers of painting, 123; vs. space, 87, 102 n. 270, 109 n. 116
Tintoretto, 105–6 n. 35
Titian, 11, 94 n. 61
Title page (of 18 Cantos) (BNF 205), 455, 455
tragedy, 27, 35, 71, 75, 77, 83, 84
and aesthetics, 106 n. 35
and freedom, 52; vs. terror, 83, 110 n. 160
tragic, the, 43, 71, 103 n. 304
Transition Forty-Eight (journal), 46–47, 105 n. 34, 35
Treble (BNF 75), 284, 284
Treitel-Gratz Co., Inc.: BN at foundry, 56; figs. 52, 53
sculptures built at, see Here II (BNF 255); Here III (BNF 256)
Triad (BNF 94), 320, 321
Trial proof (BNF 247), 495, 495
Trial proof related to Canto VII (BNF 214), 463, 463
Trial proof related to Canto VII (BNF 215), 463, 463
Truman, Harry, 105
Tundra (BNF 36), 54, 67, 90, 115 n. 90, 137, 137, 139 n. 25, 214–15, 215; fig. 97
tundra, 88, 90
tunnel effect, 88
Turrell, James, 104 n. 9
Two Edges (BNF 13), 21, 48, 47, 48, 49, 52, 60, 60–61, 62–63, 67, 106 n. 43, 170, 171; figs. 22, 45, 46, 56
Ulysses (BNF 55), 62, 94 n. 73, 124, 242, 243
Unfinished painting (BNF 266), 531, 531
Unfinished painting (BNF 267), 131, 531, 531; fig. 94
Unfinished painting (BNF 268), 532, 532
Unfinished painting (BNF 269), 533, 533
Universal Limited Art Editions: BN editions published by, BNF 205–213, 216–226, 228, 229, 231–246, 249, 250
BN preparing an etching for printing at, 41; fig. 42
BN trial proofs printed at, BNF 214, 215, 248, 251, 307
BN on grounds of, 654
University of Washington, Seattle, Broken Obelisk in situ at, 508, 509
Untitled (BNF 1), 148, 149
Untitled (BNF 119), 366, 366
Untitled (BNF 120), 367, 367
Untitled (BNF 121), 368, 368
Untitled (BNF 122), 369, 369
Untitled (BNF 123), 370, 370
Untitled (BNF 124), 371, 371
Untitled (BNF 125), 372, 372
Untitled (BNF 127), 374, 374
Untitled (BNF 128), 52, 375, 375
Untitled (BNF 131), 52, 378, 378
Untitled (BNF 132), 379, 379
Untitled (BNF 134), 381, 381
Untitled (BNF 135), 382, 382
Untitled (BNF 136), 383, 383
Untitled (BNF 137), 53, 108 n. 87, 384, 384
Untitled (BNF 138), 385, 385
Untitled (BNF 139), 386, 386
Untitled (BNF 140), 387, 387
Untitled (BNF 141), 388, 388
Untitled (BNF 142), 389, 389
Untitled (BNF 143), 390, 390
Untitled (BNF 144), 391, 391
Untitled (BNF 145), 392, 392
Untitled (BNF 146), 393, 393
Untitled (BNF 147), 394, 394
Untitled (BNF 148), 395, 395
Untitled (BNF 149), 59, 396, 396
Untitled (BNF 150), 59, 397, 397
Untitled (BNF 151), 398, 398
Untitled (BNF 152), 399, 399
Untitled (BNF 153), 400, 400
Untitled (BNF 154), 401, 401
Untitled (BNF 155), 58, 59, 109 n. 112, 402, 402; fig. 55
Untitled (BNF 156), 403, 403
Untitled (BNF 158), 61, 405, 405
Untitled (BNF 159), 61, 406, 406
Untitled (BNF 160), 407, 407
Untitled (BNF 161), 408, 408
Untitled (BNF 163), 59, 410, 410
Untitled (BNF 164), 59, 411, 411
Untitled (BNF 168), 415, 415
Untitled (BNF 170), 417, 417
Untitled (BNF 172), 419, 419
Untitled (BNF 174), 421, 421
Untitled (BNF 175), 422, 422
Untitled (BNF 176), 423, 423
Untitled (BNF 177), 424, 424
Untitled (BNF 178), 425, 425
Untitled (BNF 179), 426, 426
Untitled (BNF 180), 427, 427
Untitled (BNF 181), 428, 428
Untitled (BNF 182), 429, 429
Untitled (BNF 183), 430, 430
Untitled (BNF 184), 431, 431
Untitled (BNF 185), 432, 432
Untitled (BNF 186), 433, 433
Untitled (BNF 187), 434, 434
Untitled (BNF 188), 435, 435
Untitled (BNF 189), 436, 436
Untitled (BNF 190), 437, 437
Untitled (BNF 191), 438, 438
Untitled (BNF 192), 439, 439
Untitled (BNF 193), 440, 440
Untitled (BNF 194), 441, 441
Untitled (BNF 195), 63, 442, 442
Untitled (BNF 196), 443, 443
Untitled (BNF 197), 444, 444
Untitled (BNF 198), 63, 445, 445
Untitled (BNF 199), 63, 446, 446
Untitled (BNF 200), 63, 447, 447
Untitled (BNF 201), 448, 449
Untitled (BNF 202), 452, 452
Untitled (BNF 203), 453, 453
Untitled (BNF 204), 454, 454
Untitled (BNF 265), 530
Untitled (The Break) (BNF 157), 52, 61, 404, 404
Untitled (The Cry) (BNF 162), 58, 409, 409
Untitled (Euclidian Abyss 1) (BNF 165), 412, 412
Untitled (Euclidian Abyss 2) (BNF 166), 413, 413
Untitled (Euclidian Abyss 3) (BNF 167), 414, 414
Untitled (The Moment) (BNF 171), 418, 418
Untitled (The Name) (BNF 173), 420, 420
Untitled (Onement I) (BNF 169), 59, 416, 416
Untitled 1, 1946 (BNF 5), 61, 156, 157
Untitled 1, 1948 (BNF 15), 175, 175
Untitled 1, 1949 (BNF 28), 60, 200, 201; fig. 56
Untitled 1, 1950 (BNF 39), 118, 122, 125, 220, 220
Untitled 1, 1955 (BNF 67), 266, 266
Untitled 1, 1970 (BNF 118), 66, 362, 363
Untitled 2, 1946 (BNF 9), 58, 94 n. 71, 109 n. 111, 117, 164, 164
Untitled 2, 1948 (BNF 16), 176, 177
Untitled 2, 1949 (BNF 30), 204, 205
Untitled 2, 1950 (BNF 40), 47, 118, 122, 122, 221, 221; figs. 45, 85
Untitled 2, 1955 (BNF 68), 267, 267
Untitled 3, 1949 (BNF 35), 214, 214
Untitled 3, 1950 (BNF 41), 118, 122, 122, 139 n. 25, 222, 222; fig. 85
Untitled 4, 1950 (BNF 42), 118, 122, 139 n. 25, 222, 223; fig. 85
Untitled 5, 1950 (BNF 43), 118, 122, 223, 223; fig. 85
Untitled 6, 1950 (BNF 45), 225, 225
Untitled etching (BNF 251), 499, 499
Trial proof (BNF 248), 496, 496
Untitled Etching 1 (BNF 249), 497, 497
First Version, 497
Untitled Etching 2 (BNF 250), 498, 498
Untitled paintings of 1950 (BNF 39–43) (as a series), 118, 122, 125
Uriel (BNF 66), 6, 7, 13, 64, 87, 93 n. 28, 133, 263, 264–65; figs. 7, 8
Valley of the Eagles (film), 90, 115 n. 90
Vico, Giambattista, 100 n. 199
Vietnam War, 5, 14, 84, 93 n. 20, 119
Vir Heroicus Sublimis (BNF 47), 18, 41, 64, 67, 77, 85, 85–86, 89, 105 n. 30, 110 n. 159, 114 n. 64, 125, 132, 138, 227–30, 228–29; figs. 19, 73
Viva, 8; fig. 9
Voice, The (BNF 37), 86, 121–22, 125, 133, 216, 217
Voice of Fire (BNF 103), 89, 89–90, 334, 334, 335; fig. 75
void, the, 6, 10, 59, 60, 61, 73, 75, 109 nn. 128, 133
Volkmer, Jean, 133, 134
Wahl, Jean, 106 n. 35
Walton, John, 107 n. 75
war, value of, 27
Warhol, Andy, 43, 73, 103 n. 301, 129
Way I, The (BNF 49), 56, 124, 139 n. 24, 141 n. 135, 232, 233
Way II, The (BNF 114), 354, 354
Weisman, Marcia, 55
White and Hot (BNF 105), 66, 337, 337
White Fire (series), 132. See also the four entries below (BNF 64, 74, 90, 108)
White Fire I (BNF 64), 17, 132, 139 n. 25, 260, 261
White Fire II (BNF 74), 282, 283
White Fire III (BNF 90), 132, 312, 313
White Fire IV (BNF 108), 86, 132, 135, 344, 344, 530
whiteout, 90
Who’s Afraid of Red, Yellow and Blue (series), 104 n. 10, 132. See also the four entries below (BNF 99, 100, 106, 115)
Who’s Afraid of Red, Yellow and Blue I (BNF 99), 66, 95 n. 75, 104 n. 10, 124, 132, 139 n. 13, 141 n. 108, 328, 329
Who’s Afraid of Red, Yellow and Blue II (BNF 100), 104 n. 10, 124, 132, 141 nn. 106, 108, 330, 331
Who’s Afraid of Red, Yellow and Blue III (BNF 106), 104 n. 10, 110 n. 153, 130, 132, 136, 141 n. 108, 338, 340–41; fig. 93
Who’s Afraid of Red, Yellow and Blue IV (BNF 115), 104 n. 10, 110 n. 153, 124, 128, 129, 132, 136, 140 n. 93, 141 n. 108, 355, 356–57; fig. 91, dust jacket, and slipcase
Wild, The (BNF 48), 67, 86, 106–7 n. 58, 110 n. 159, 141 n. 136, 231, 231
Williams, Neil, 110 n. 158
Wingert, Paul, 81
Wittgenstein, Ludwig, 96 n. 124
Wofford, Philip, 133
Wood, Grant, 4
The Birthplace of Herbert Hoover, 4, 5; fig. 4
Woodstock, New York, Art Conference (1952), 3, 4–5, 35, 43, 49, 61, 73, 87, 92 n. 13
Word I, The (BNF 6), 52, 60, 61, 120, 158, 159; fig. 56
Word II, The (BNF 62), 13, 128, 256, 257
Works Progress Administration (WPA), 23
World War II, 14, 15, 17, 27, 30, 31, 42, 43, 50, 51, 70–71, 81, 82, 83, 84, 92 n. 9, 100 nn. 197, 214; 113 n. 47
Worringer, Wilhelm, 82, 113 n. 40
Yellow Edge (BNF 110), 346, 347
Yellow Painting (BNF 27), 134, 140 n. 44, 198, 199; fig. 96
Young, Terence, 115 n. 90
Zarnower, Teresa, 30, 31, 35, 94 n. 45; fig. 33
Zim Zum I (BNF 258), 518–20, 518, 519
Zim Zum II (BNF 259), 89, 520, 521, 522, 523, 542