ART MASTERED

Jules Olitski, Prince Patutsky Triumph Over Kaiser Hymie, 1964

2 weeks ago -

21

Ellsworth Kelly, 1951, Pink and Orange

3 months ago -

58

Barnett Newman, 1950, The Voice

4 months ago -

16

Kenneth Noland, 1961, Highlights

4 months ago -

22

Jules Olitski, 1962, Cleopatra Flesh

5 months ago -

302

Mark Rothko, 1956, Untitled (Orange on Yellow)

5 months ago -

82

Morris Louis, 1961, Alpha Phi

5 months ago -

41

Barnett Newman, 1951-52, Adam and, 1950, Eve

From the Tate - Adam:

From the mid-1940s Newman had been preoccupied with the Jewish myths of Creation. The vertical strips in his paintings may relate to certain traditions that present God and man as a single beam of light. The name Adam, which in the Old Testament was given to the first man, derives from the Hebrew word adamah (earth), but is also close to adom, (red) and dam (blood). The relationship between brown and red in this painting may therefore symbolise man’s intimacy with the earth.

and Eve:

The vast expanse of unmodulated red paint in this work is both absorbing and disorienting. It is interrupted by a single, narrow band of purple running the length of the right-hand edge. This ‘zip’ generates a tension throughout the canvas between presence and blankness, solidity and fragility. Its verticality also echoes the position of the viewer, helping to fulfil Newman’s concern that ‘the onlooker in front of my painting knows that he’s there’.

6 months ago -

17