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Shiff, Richard; Mancusi-Ungaro, Carol C.; Colsman-Freyberger, Heidi

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Bibliography

Richard Shiff, Carol C. Mancusi-Ungaro, Heidi Colsman-Freyberger

Barnett Newman: A Catalogue Raisonné

Bibliography

Author

Richard Shiff, Carol C. Mancusi-Ungaro, Heidi Colsman-Freyberger

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20960

Bibliography

By the Artist

A selection of Barnett Newman’s writings and interviews—some published in his lifetime, others posthumously—has been gathered and reprinted, together with copious unpublished material, in:

Barnett Newman: Selected Writings and Interviews. Ed. John P. O’Neill. Text notes and commentary by Mollie McNickle, introduction by Richard Shiff. New York: Alfred A. Knopf, 1990

The volume was published in paperback by the University of California Press, Berkeley, in 1992. It was also published in German as Barnett Newman: Schriften und Interviews 1925–1970. Trans. Tarcisius Schelbert. Bern and Berlin: Gachnang & Springer, 1996.

Listed below are the artist’s published interviews and writings, with cross-references, where applicable, to the above collection, henceforth referred to in abbreviated form as O’Neill 1990.

Review of an exhibition of paintings by Roger Fry. The Lavender [City College of New York newspaper], March 1925, pp. 24–25. See O’Neill 1990, pp. 54–56.

Remarks on objective criticism, prompted by the restrictive admission policy of the Barnes Foundation, Merion, Pennsylvania. 1926. See O’Neill 1990, pp. 56–58.

“On the Need for Political Action by Men of Culture.” 1933. Printed pamphlet. See O’Neill 1990, pp. 4–8.

Editorial in The Answer—America’s Civil Service Magazine 1 (January 1936). Edited and published by Barnett Newman. See O’Neill 1990, pp. 9–13.

“It Must Be Destroyed: The True Story of the Citizen’s Budget Commission, Inc.” The Answer: America’s Civil Service Magazine 1 (January 1936), pp. 13–23.

“Civil Service—The American Way Out.” Book proposal. June 1936. See O’Neill 1990, pp. 13–14.

Interview with Thomas Hart Benton. The New York Times, 19 September 1938. See O’Neill 1990, pp. 14–18.

“Can We Draw? The Board of Examiners Says—No!” Foreword to an exhibition catalogue of that title. ACA Gallery, New York, November 1938. See O’Neill 1990, pp. 18–19.

“What About Isolationist Art?” Spring 1942. See O’Neill 1990, pp. 20–29.

Foreword to American Modern Artists. Exhibition brochure. Riverside Museum, New York, 1943. See O’Neill 1990, pp. 29–30.

“Globalism Pops into View.” The New York Times, 13 June 1943. Letter to the editor, written by Adolph Gottlieb, Mark Rothko, and Newman, signed “Adolph Gottlieb and Marcus Rothko.”

“New York.” 1943 or 1944. See O’Neill 1990, pp. 30–34.

Letter to Adolph and Esther Gottlieb. 1943 or 1944. See O’Neill 1990, pp. 58–60.

“The Problem of Subject Matter.” Ca. 1944. See O’Neill 1990, pp. 80–83.

Foreword to Adolph Gottlieb. Exhibition brochure. Wakefield Gallery, New York, February 1944. See O’Neill 1990, pp. 60–61.

Foreword to Pre-Columbian Stone Sculpture. Exh. brochure. Wakefield Gallery, New York, May 1944. See O’Neill 1990, pp. 61–62.

“Escultura pre-colombina en piedra.” La Revista Belga [New York], August 1944, pp. 51–59. For the original English version, “Pre-Colombian Stone Sculpture,” see O’Neill 1990, pp. 62–65.

“Sobre el arte moderno: Examen y ratificación.” La Revista Belga [New York], November 1944, pp. 18–32. For the original English version, “On Modern Art: Inquiry and Confirmation,” see O’Neill 1990, pp. 66–71.

“The Anglo-Saxon Tradition in Art Criticism.” Ca. 1944–45. See O’Neill 1990, pp. 83–86.

“Milton Avery” [exhibition review]. 1945. See O’Neill 1990, pp. 77–80.

“Surrealism and the War.” 1945. See O’Neill 1990, pp. 94–96.

Memorial letter for Howard Putzel, addressed to Edward Alden Jewell of the New York Times. 1945. See O’Neill 1990, pp. 96–98.

“The Plasmic Image.” Spring 1945. See O’Neill 1990, pp. 138–55.

“La pintura de Tamayo y Gottlieb.” La Revista Belga [New York], April 1945, pp. 16–25. For the original English version, “The Painting of Tamayo and Gottlieb,” see O’Neill 1990, pp. 71–77.

“Painting and Prose/Frankenstein.” Concerning an article by Joseph Frank in the Sewanee Review. Fall 1945. See O’Neill 1990, pp. 86–93.

Foreword to Teresa Zarnower. Exh. brochure. Art of This Century, New York, April 1946. See O’Neill 1990, pp. 103, 105.

“Las formas artísticas del Pacífico.” Ambos Mundos 1 (June 1946), pp. 51–55. For the original English version, “Art of the South Seas,” see O’Neill 1990, pp. 98–103.

Foreword to Northwest Coast Indian Painting. Exh. brochure. Betty Parsons Gallery, New York, September 1946. See O’Neill 1990, pp. 105–7.

Foreword to The Ideographic Picture. Exh. brochure. Betty Parsons Gallery, New York, January 1947. See O’Neill 1990, pp. 107–8.

Foreword to Stamos. Exh. brochure. Betty Parsons Gallery, New York, February 1947. See O’Neill 1990, pp. 109–10.

“The First Man Was an Artist.” The Tiger’s Eye 1, no. 1 (1 October 1947), pp. 57–60. See O’Neill 1990, pp. 156–60.

Foreword to Herbert Ferber. Exh. brochure. Betty Parsons Gallery, New York, December 1947. See O’Neill 1990, pp. no–11.

Response to Clement Greenberg’s review for The Nation of the work of Adolph Gottlieb. December 1947. See O’Neill 1990, pp. 161–64.

“The Ides of Art: The Attitudes of Ten Artists on Their Art and Contemporaneousness.” The Tiger’s Eye 1, no. 2 (15 December 1947), p. 43. See O’Neill 1990, pp. 160–61.

“The New Sense of Fate.” 1947–48. Intended for the March 1948 issue of The Tiger’s Eye, not published because of its length. See O’Neill 1990, pp. 164–69.

Endorsement of Various Poems by Ruth Stephan. Flyer soliciting sales. Ca. 1948. New York: Gotham Book Mart, n.d.

“The Object and the Image.” The Tiger’s Eye 1, no. 3 (15 March 1948), p. 111. See O’Neill 1990, p. 170.

“Arshile Gorky: Poet and Immolator.” Summer 1948. Memorial tribute written at the request of the “little magazine” Instead. See O’Neill 1990, pp. 111–12.

“The Sublime Is Now.” The Tiger’s Eye 1, no. 6 (15 December 1948), pp. 51–53. See O’Neill 1990, pp. 170–73.

“Ohio, 1949.” Concerning the Indian mounds in the southwestern corner of the state. 1949. See O’Neill 1990, pp. 174–75.

“To Be or Not: Six Opinions on Dr. Trigant Burrow’s The Neuroses of Man.” Book review. The Tiger’s Eye 1, no. 9 (1 October 1949), pp. 122–26. See O’Neill 1990, pp. 113–18.

Remarks at the Artists’ Sessions at Studio 35 (1950). In Modern Artists in America, first series, ed. Robert Motherwell and Ad Reinhardt, p. 10 and passim. New York: Wittenborn Schultz [1952]. See O’Neill 1990, pp. 240–41.

Statement for solo exhibition at the Betty Parsons Gallery, January 1950. See O’Neill 1990, p. 178.

Letter to the editor in response to a review by Peyton Boswell of Newman’s show. Art Digest 24, no. 12 (15 March 1950), p. 5.

Drafts of a protest against recent art criticism and of a letter to the editor, the New York Times, concerning an exhibition of Clyfford Still’s work. April 1950. See O’Neill 1990, pp. 34–36.

Review of Abstract Painting: Background and American Phase by Thomas B. Hess. 1951. See O’Neill 1990, pp. 118–23.

Statement for solo exhibition at the Betty Parsons Gallery, April 1951. See O’Neill 1990, p. 178.

Open letter to Roland L. Redmond, president of the Metropolitan Museum of Art. 27 June 1952. Cosigned with Clyfford Still, Ad Reinhardt, Mark Rothko, Adolph Gottlieb, Herbert Ferber, and Robert Motherwell. See O’Neill 1990, pp. 36–37.

Remarks at the Fourth Annual Woodstock Art Conference, 22–23 August 1952. See O’Neill 1990, pp. 242–47.

Letter to Alfonso Ossorio concerning the withdrawal of Newman’s “small” canvases from public view. 22 June 1953. See O’Neill 1990, pp. 198–99.

Open letter to William A. M. Burden, president of the Museum of Modern Art. 3 July 1953. See O’Neill 1990, pp. 38–40.

“Disclaimer.” Letter to the editor of Art Digest concerning a statement by Rollin Crampton in a previous issue. Art Digest 28, 15 February 1954, p. 3.

Letter to the editor about changes at the Solomon R. Guggenheim Museum. The New York Times Magazine, 7 June 1954. See O’Neill 1990, pp. 40–41.

Letter to the editor concerning Georges Mathieu. Artnews 53, no. 10 (February 1955), pp. 50–53, 74–75. See O’Neill 1990, pp. 199–200.

Letter to Sidney Janis. 9 April 1955. See O’Neill 1990, pp. 200–202.

Letter in response to Clement Greenberg’s “‘American-Type’ Painting.” 9 August 1955. See O’Neill 1990, pp. 202–4.

Letter to John. I. H. Baur, director of the Whitney Museum of American Art. 11 August 1955. See O’Neill 1990, pp. 204–5.

Letter to Betty Parsons. 1 December 1955. See O’Neill 1990, p. 206.

Letter to John. I. H. Baur concerning Robert Motherwell’s remarks about Bradley Walker Tomlin. 20 October 1957. See O’Neill 1990, pp. 207–9.

Letter to the editor concerning an exhibition review. The New Republic 137, no. 19 (28 October 1957), p. 23. See O’Neill 1990, pp. 209–11.

Letter to Howard Nemerov concerning a poem inspired by Newman’s painting. 8 June 1958. See O’Neill 1990, pp. 211–12.

Letter to W. McNeil Lowry, director of the Ford Foundation, in response to being considered for an award. 20 November 1958. See O’Neill 1990, pp. 212–14.

Statement in The New American Painting: As Shown in Eight European Countries, 1958–1959, p. 60. Exh. cat. The Museum of Modern Art/The International Council, New York. 1959. See O’Neill 1990, pp. 178–80.

Letter to the editor concerning a review by Hubert Crehan of Newman’s show. Artnews 58, no. 4 (Summer 1959), p. 6. See O’Neill 1990, pp. 214–16.

Letter to the editor concerning a book review by Erwin Panofsky. Artnews 60, no. 3 (May 1961), p. 6. For Panofsky’s rejoinder and Newman’s rebuttal, see Artnews 60, no. 5 (September 1961), p. 6. See O’Neill 1990, pp. 216–20.

Letter to John C. Warner, president of the Carnegie Institute. 6 September 1961. See O’Neill 1990, p. 42.

Letter to John Gordon, Curator, Whitney Museum of American Art, declining an invitation to participate in the exhibition Geometric Abstraction. 7 January 1962. See O’Neill 1990, pp. 221–22.

“Frontiers of Space.” Interview by Dorothy Gees Seckler. Art in America 50, no. 2 (Summer 1962), pp. 82–87. See O’Neill 1990, pp. 247–51.

“Embattled Lamb.” Review of Embattled Critic by John Canaday. Artnews 61, no. 5 (September 1962), pp. 35, 57–58. See O’Neill 1990, pp. 124–29.

Statement about his concept for a synagogue in Recent American Synagogue Architecture, p. 24. Exh. cat. The Jewish Museum, New York. 1963. See O’Neill 1990, pp. 180–82.

Letter to Harold Rosenberg concerning his article about Newman for Vogue. 21 January 1963. See O’Neill 1990, p. 222.

Condensed transcript of a filmed interview by Lane Slate. Broadcast by CBS Television as part of the Contemporary American Painters series, 10 March 1963. See O’Neill 1990, pp. 251–54.

Foreword to Amlash Sculpture from Iran. Exh. brochure. Betty Parsons Gallery, New York. September 1963. See O’Neill 1990, pp. 129–30.

Preface to 18 Cantos, a portfolio of lithographs by Barnett Newman. West Islip, N.Y.: Universal Limited Art Editions, 1964. See O’Neill 1990, pp. 182–84.

“On Emma Lake.” Statement about the Emma Lake artists’ workshop for Canadian Art. 1964. See O’Neill 1990, pp. 184–85.

“Barnett Newman, American Painter: The Continuity of Vision.” Television interview by Frank O’Hara, Art New York series, directed by Bruce Minnix, produced by Colin Clark, and telecast by WNDT-TV (Newark) on 8 December 1964. Videotape on deposit at The Museum of Modern Art, New York, Television Archive of the Arts.

Statement in VIII Bienal do Museu de Arte Moderna: Representaçao dos Estados Unidos da America, p. [9]. Exh. cat. Eighth São Paulo Biennial/The United States of America Pavilion, São Paulo, Brazil, 1965. Reprinted in Eighth São Paulo Biennial: The United States of America, p. [9]. Exh. cat. National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1966. See O’Neill 1990, pp. 186–87.

Interview by David Sylvester, taped in April 1965, broadcast by BBC on 17 November 1965, added to on 3 March 1967. Edited transcript, “Concerning Barnett Newman,” published in The Listener, 10 August 1972, pp. 169–72. See O’Neill 1990, pp. 254–59.

“The New York School Question.” Interview by Neil A. Levine. Artnews 64, no. 5 (September 1965), pp. 38–41, 55–56. See O’Neill, pp. 259–67. For Mrs. Clyfford Still’s rejoinder and Newman’s rebuttal, see Artnews 64, no. 7 (November 1965), p. 6. See O’Neill 1990, pp. 223–25.

Interview by Karlen Mooradian. 1966. In Karlen Mooradian, The Many Worlds of Arshile Gorky, pp. 176–80. Chicago: Gilgamesh Press Limited, 1980.

“The Case for ‘Exporting’ Nation’s Avant-Garde Art.” Interview by Andrew Hudson. The Washington Post, 27 March 1966, p. G10. See O’Neill 1990, pp. 268–73.

Statement in Barnett Newman: The Stations of the Cross—Lema Sabachthani, p. 9. Exh. cat. Solomon R. Guggenheim Museum, New York. April 1966. See O’Neill 1990, pp. 187–88.

“The 14 Stations of the Cross, 1958–1966.” Artnews 65, no. 3 (May 1966), pp. 26–28, 57. Reprinted in The Art World: A Seventy-Five-Year Treasury of Art News, ed. Barbaralee Diamonstein, pp. 357–58. New York: Artnews Books, 1977. See Spencer Rydell, letter to the editor, Artnews 65, no. 5 (September 1966), p. 6. See O’Neill 1990, pp. 189–90.

“A Conversation: Barnett Newman and Thomas B. Hess,” taped 1 May 1966, concerning The Stations of the Cross. For an edited transcript, see O’Neill 1990, pp. 273–86.

“Artists on Museums: Barnett Newman.” Interview in Arts Yearbook 9: The Museum World, p. 90. New York: Art Digest, 1967.

“Jackson Pollock: An Artists’ Symposium, Part 1.” Artnews 66, no. 2 (April 1967), p. 29. See O’Neill 1990, pp. 191–92.

“Response to the Reverend Thomas F. Mathews.” In Revolution, Place, and Symbol: Journal of the First Congress on Religion, Architecture, and the Visual Arts. Papers of a congress in New York and Montreal, 26 August–4 September 1967. Published 1969. See O’Neill 1990, pp. 286–90.

Letter to the editor of Art International concerning an interview of Robert Motherwell by Sidney Simon in the previous issue. Art International 11, no. 7 (20 September 1967), p. 51. For Newman’s rebuttal of Motherwell’s rejoinder, see Art International 11, no. 9 (20 November 1967), pp. 24, 27. For another response by each, see Art International 12, no. 1 (20 January 1968), p. 41. See O’Neill 1990, pp. 225–33.

“The True Revolution is Anarchist!” Foreword to Memoirs of a Revolutionist by Peter Kropotkin. New York: Horizon Press, 1968. See O’Neill 1990, pp. 44–52.

Letter to the editor in praise of David Hare. Artnews 66, no. 10 (February 1968), p. 6.

Letter to the editor concerning a review by Andrew Hudson. Artforum 6, no. 7 (March 1968), p. 4.

“For Impassioned Criticism.” Artnews 67, no. 4 (Summer 1968), pp. 26–27, 58–59. Originally published (in French) as “Pour la critique passionnée” in Preuves, no. 207 (May 1968), p. 44. See O’Neill 1990, pp. 130–36.

Letter to the editor of Artnews concerning a review in the previous issue by John Ashbery of Dada, Surrealism, and Their Heritage at the Museum of Modern Art, New York. Artnews 67, no. 4 (Summer 1968), p. 8. See O’Neill 1990, pp. 233–34. See also a related letter to William S. Rubin in O’Neill 1990, pp. 234–37.

Letter to C. C. Cunningham, director of the Art Institute of Chicago, requesting the withdrawal of Gea from an exhibition. 3 September 1968. See O’Neill 1990, p. 43.

Statement concerning Who’s Afraid of Red, Yellow, and Blue I. Art Now: New York 1, no. 3 (March 1969), unpaginated. See O’Neill 1990, p. 192.

“Chartres and Jericho.” Artnews 68, no. 2 (April 1969), pp. 28–29; see p. 5 and cover. Includes explanatory note, Hess 1969b. Reprinted in Studio International 179, no. 919 (February 1970), pp. 64–65. See O’Neill 1990, pp. 193–94.

Testimony read at a public hearing about establishing the program of an art workers coalition. The New York Element 1, no. 4 (June–July 1969), p. 3.

“Through the Louvre with Barnett Newman.” Interview by Pierre Schneider. Artnews 68, no. 4 (Summer 1969), pp. 34–39, 70–72. Reprinted in Pierre Schneider, Louvre Dialogues, pp. 209–33. New York: Atheneum, 1971. See O’Neill 1990, pp. 290–302.

“Remarks on the Occasion of the Opening of the Exposition Fluorescent Light, etc. from Dan Flavin in the National Gallery of Canada, Ottawa, on 12 September 1969.” First published in Chinati Foundation Newsletter 5 (2000), pp. 14–15.

“In Front of the Real Thing,” remarks occasioned by the centenary of the Metropolitan Museum of Art. Artnews 68, no. 9 (January 1970), p. 60. See O’Neill 1990, pp. 195–96.

Interview, 4 April 1970, filmed for the documentary Painters Painting, New York: A Candid History of the Modern Art Scene, 1940–1970, directed by Emile de Antonio, distributed by Turin Film Corporation, New York (35 mm, color, 10 minutes). Edited transcript published in Painters Painting, ed. Emile de Antonio and Mitch Tuchman, pp. 41–44 and passim. New York: Abbeville, 1984. See O’Neill 1990, pp. 302–8.

About the Artist

Monographs

Barnett Newman: The Stations of the Cross—Lema Sabachthani. With statement by the artist and essay by Lawrence Alloway. Exh. cat. Solomon R. Guggenheim Museum, New York, 1966.

Hess, Thomas B. Barnett Newman. New York: Walker and Company, 1969. Published in conjunction with the exhibition at M. Knoedler & Co., Inc.

Huber, Carlo. Barnett Newman: 22 Lithographien. Exh. cat. Kunstmuseum, Basel, 1969.

Huber, Carlo. Barnett Newman: Das lithographische Werk. Exh. cat. Kammerkunsthalle, Bern, 1970.

Hess, Thomas B. Barnett Newman. New York: The Museum of Modern Art, 1971. Published in conjunction with retrospective exhibition.

Imdahl, Max. Barnett Newman: Who’s Afraid of Red, Yellow and Blue III. Werkmonographien zur Bildenden Kunst, 147. Stuttgart: Philipp Reclam jun., 1971. Reprinted, without illustrations, in Das Erhabene: Zwischen Grenzerfahrung und Gröβenwahn, ed. Christine Pries, pp. 233–52. Weinheim: VCH Acta humaniora, 1989. Reprinted again in Max Imdahl, Zur Kunst der Moderne: Gesammelte Schriften, ed. Angeli Janhsen-Vukicevic, vol. 1, pp. 244–73. Frankfurt: Suhrkamp, 1996.

Rosenberg, Harold. Barnett Newman: “Broken Obelisk ” and Other Sculptures. Index of Art in the Pacific Northwest, 2. Seattle and London: University of Washington Press, [1971]. Published for the Henry Art Gallery.

Hess, Thomas B., and Blaise Gautier. Barnett Newman [in French]. Exh. cat. Grand Palais, Paris, 1972.

Hess, Thomas B., and Edy de Wilde. Barnett Newman [in Dutch]. Exh. cat. Stedelijk Museum, Amsterdam, 1972.

Hess, Thomas B., and Norman Reid. Barnett Newman. Exh. cat. The Tate Gallery, London, 1972.

Rosenberg, Harold. Barnett Newman. New York: Harry N. Abrams, Inc., [1978]. Reprinted, with updated material, 1994. The first edition was distributed in France by Editions du Chêne with insert “Barnett Newman: Pour une peinture passionnée” by Alfred Pacquement.

Heynen, Julian. Barnett Newmans Texte zur Kunst. Studien zur Kunstgeschichte, 10. Hildesheim and New York: Olms, 1979.

Richardson, Brenda. Barnett Newman: The Complete Drawings, 1944–1969. Exh. cat. The Baltimore Museum of Art, 1979.

Honisch, Dieter, et al. Hommage à Barnett Newman. Exh. cat. Nationalgalerie, Staatliche Museen, Preussischer Kulturbesitz, Berlin, 1982.

Davies, Hugh M. The Prints of Barnett Newman. With an essay by Riva Castleman and a catalogue by Sally Yard. Exh. cat. University Gallery, University of Massachusetts, Amherst, 1983.

Barnett Newman: Paintings. With an essay by Yve-Alain Bois. Exh. cat. The Pace Gallery, New York, 1988.

Smith, Brydon. Voice of Fire: Barnett Newman, 1905–1970. Fact sheet. National Gallery of Canada, Ottawa, 1990.

Pincus-Witten, Robert, and Ealan Wingate. Barnett Newman: Zim Zum II. Exh. cat. Gagosian Gallery, New York, 1992.

Meyer, Franz. Barnett Newman, Notes: 18 Etchings and Aquatints. Stedelijk Graphic Arts Documents, 1. Exh. cat. Stedelijk Museum, in association with The Chinati Foundation, Amsterdam and Marfa, Texas, 1993.

Taki, Koji. Barnett Newman: The Artist in the World Without Myth [in Japanese]. Tokyo: Iwanami Shoten, 1994.

The Sublime Is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944–1949. With essay by Jeremy Strick. Exh. cat. Pace Wildenstein, New York, [1994].

van de Vail, Renée. Een subliem gevoel van plaats: Een filosofische interpretatie van het werk van Barnett Newman. Groningen: Historische Uitgeverij, 1994.

Barber, Bruce, Serge Guilbaut, and John O’Brian, eds. Voices of Fire: Art, Rage, Power, and the State. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Egenhofer, Sebastian. The Sublime Is Now: Zu den Schriften und Gesprächen Barnett Newmans. Koblenz: Fölbach, 1996.

Schor, Gabriele. The Prints of Barnett Newman, 1961–1969. Exh. cat. Staatsgalerie Stuttgart, 1996.

Kurzführer: Barnett Newman: Bilder, Skulpturen, Graphik. Exh. brochure, bilingual. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1997.

Zweite, Armin. Barnett Newman: Bilder, Skulpturen, Graphik. Exh. cat. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1997. Revised version published in English as Barnett Newman: Paintings, Sculptures, Works on Paper. Ostfildern-Ruit, Germany: Hatje Cantz Publishers, 1999.

Schneemann, Peter [Johannes]. Who’s Afraid of the Word: Die Strategie der Texte bei Barnett Newman und seinen Zeitgenossen. Quellen zur Kunst, 6. Ed. Norberto Grammaccini. Freiburg i. B.: Rombach, [1998].

Barnett Newman: Cathedra. SMA Cahiers, 24. Amsterdam: Stedelijk Museum, 2001.

Burton, Jane. Who’s Afraid of Red Yellow and Blue. Exh. brochure. Tate Modern, London, 2002.

Lewison, Jeremy. Looking at Barnett Newman. London: August Media, 2002.

Temkin, Ann, et al. Barnett Newman. Exh. cat. Philadelphia Museum of Art, 2002.

Theses and Dissertations

Reise, Barbara Marie. “‘Primitivism’ in the Writings of Barnett B. Newman: A Study in the Ideological Background of Abstract Expressionism.” Master’s thesis, Columbia University, New York, 1965.

Deschamps, Madeleine. “Barnett Newman et Mark Rothko: La création d’un lieu.” Doctoral dissertation, Université de Paris, Panthéon-Sorbonne, [1972]. Typescript on deposit at the Barnett Newman Foundation.

Paskus, Benjamin Garrison. “The Theory, Art, and Critical Reception of Barnett Newman.” Ph.D. dissertation, The University of North Carolina at Chapel Hill, 1974.

Reithmann, Max. “L’espace et la problématique du sujet dans la peinture de Barnett Newman.” Thesis (“thèse inédite de 3e cycle sous la direction de M. Roland Barthes”), École des Hautes Études en Sciences Sociales, Paris, 1977.

Quick, David M[arvin]. “Meaning in the Art of Barnett Newman and Three of His Contemporaries: A Study of Content in Abstract Expressionism.” Ph.D. dissertation, The University of Iowa, 1978.

Polcari, Stephen. “The Intellectual Roots of Abstract Expressionism.” Ph.D. dissertation, University of California, Santa Barbara, 1980.

Cox, Annette. “Utopian Color: Anarchism and the Art of Barnett Newman.” In Art-As-Politics: The Abstract Expressionist Avant-Garde and Society, pp. 67–82. Studies in the Fine Arts, The Avant-Garde, 26. Ann Arbor, Michigan: UMI Research Press, [1982].

Hepp, Nicolas. Das nicht-relationale Werk: Jackson Pollock, Barnett Newman: Ansätze zu einer Theorie handelnden Verstehens. Mülheim: v. Westarp, 1982. Originally a doctoral dissertation, Ruhr-Universität, Bochum.

Mark, Lily. “The Relevance of Title to Form and Content in the Mature Work of Barnett Newman.” 2 vols. Master’s thesis, University of the Witwatersrand, Johannesburg, 1983.

Goy, Bernard. “Questions des limites et structure déductive dans la peinture de Barnett Newman.” Master’s thesis, Université Paris 1 Sorbonne, Paris, 1985/86.

Negri, Patrick. “Messengers of a Lost God, Being a Biography of Barnett Newman, Jackson Pollock, and Mark Rothko.” Th.D. thesis (partial), Graduate Theological Union, Berkeley, California, 1988. Typescript. On deposit at the Barnett Newman Foundation.

Brauner, Haidrun. “Das Erhabene bei Barnett Newman.” Master’s thesis, Ruhr-Universität, Bochum, 1989.

Negri, Patrick. “Signs of Being: A Study of the Religious Significance of the Art of Barnett Newman, Jackson Pollock, and Mark Rothko.” Th.D. thesis, Graduate Theological Union, Berkeley, California, 1990. Typescript. On deposit at the Barnett Newman Foundation.

Mills, Kerry A. “Reconsidering Barnett Newman.” Master’s thesis, Virginia Commonwealth University, Richmond, 1993.

Moos, David Alfred. “The Loss of Landscape in American Abstraction: The Self in Clyfford Still, Jackson Pollock, and Barnett Newman.” Ph.D. dissertation, Columbia University, 1993.

Stecker, Raimund. “The Stations of the Cross: Lema Sabachthani von Barnett Newman: Untersuchung über die Aufhebung der Widersprüchlichkeit von Form und Inhalt.” Doctoral dissertation, Ruhr-Universität, Bochum, 1993.

McNickle, Mollie. “The Mind and Art of Barnett Newman.” Ph.D. dissertation, University of Pennsylvania, 1996.

Godfrey, Mark. “Painting a Place of Mourning: Barnett Newman’s Stations of the Cross. “ Master’s thesis, University College, London, 1997. Typescript. On deposit at the Barnett Newman Foundation.

Rich, Sarah Katherine. “Seriality and Difference in the Late Work of Barnett Newman.” Ph.D. dissertation, Yale University, 1999.

Ramin Schor, Gabriel. “Relationen: Studien zum Verhältnis zwischen Philosophie, Literatur und Malerei am Beispiel von Kafka, Rilke und Barnett Newman.” Doctoral dissertation, Universität Wien, Institut für Philosophie, Vienna 2001.

Plattard, Hélène. “La pensée de Barnett Newman: Here I, Here II et Here III. “Master’s thesis, Université Lumière, Lyons, France, 2002. Typescript. On deposit at the Barnett Newman Foundation.

General Literature with Extensive References to Barnett Newman

Anfam, David. Abstract Expressionism. New York: Thames and Hudson, [1990].

Bockemühl, Michael. Die Wirklichkeit des Bildes: Bildrezeption als Bildproduktion: Rothko, Newman, Rembrandt, Raphael. Stuttgart: Urachhaus, [1985].

Buettner, Stewart. American Art Theory, 1945–1970. Ann Arbor, Michigan: UMI Research Press, 1981.

Castleman, Riva. American Impressions: Prints Since Pollock. New York: Alfred A. Knopf, 1985.

de Antonio, Emile, and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940–1970. New York: Abbeville Press, [1984]. Barnett Newman passages reprinted in O’Neill 1990, pp. 302–8.

Gibson, Ann Eden. Issues in Abstract Expressionism: The Artist-Run Periodicals. Ann Arbor and London: UMI Research Press, [1990].

Gibson, Ann Eden. Abstract Expressionism: Other Politics. New Haven and London: Yale University Press, [1997].

Golding, John. Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko and Still. London: Thames & Hudson, 2000.

Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. Chicago and London: The University of Chicago Press, 1983.

Imdahl, Max, ed. Arbeiter diskutieren moderne Kunst: Seminare im Bayerwerk Leverkusen. Edition Kunstbuch Berlin. Berlin: Rembrandt Verlag, 1982.

Joachimides, Christos M., and Norman Rosenthal, eds. American Art in the Twentieth Century: Painting and Sculpture, 1913–1993. Exh. cat. Martin-Gropius-Bau, Berlin, 1993.

Kingsley, April. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York: Simon & Schuster, [1992].

Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. New Haven and London: Yale University Press, [1993].

Mackie, Alwynne. Art/Talk: Theory and Practice in Abstract Expressionism. New York: Columbia University Press, 1989.

Massu, Claude. L’École de New York. Actualité des arts, 95. [N.p.]: Collection actualité des arts plastiques, 1996.

Ratcliff, Carter. The Fate of a Gesture: Jackson Pollock and Postwar American Art. New York: Farrar Straus Giroux, 1996.

Rose, Barbara. “A New Aesthetic.” In A New Aesthetic, pp. 8–20. Exh. cat. The Washington Gallery of Modern Art, Washington, D.C., 1967.

Rosenblum, Robert. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. London: Thames and Hudson, [1975].

Rushing, W. Jackson. Native American Art and the New York Avant-Garde. Austin: University of Texas Press, 1995.

Schneider, Pierre. “Déclarer l’espace: Barnett Newman” and “Traverse 5: Kant commentateur de Newman.” In Petite histoire de l’infini en peinture, pp. 292–313, 314–19, 493–94. Paris: Hazan, 2001.

Velhagen, Rudolf. Jasper Johns: Neue Graphik-Geschenke und Barnett Newman: 18 Cantos. Exh. brochure. Kunstmuseum, Basel, 1994.

Welish, Marjorie. “Abstractions: Barnett Newman and James Turrell.” In Signifying Art: Essays on Art After 1960, pp. 206–11. Cambridge: Cambridge University Press, 1999.

Articles and Essays in Periodicals, Newspapers, and Anthologies

Adams, Brooks. Review of Barnett Newman monograph by Harold Rosenberg. The Print Collector’s Newsletter 10, no. 2 (May–June 1979), pp. 63–65.

Adams, Tim. “He Had to Draw the Line Somewhere.” Observer Review, 22 September 2002, p. 10.

Adel, Martin. “A wie Anarchie und Avantgarde: Barnett Newman und die amerikanische malerische Moderne.” Die Presse (Vienna), 7/8 May 1986, p. 5.

Alloway, Lawrence. “The New American Painting.” Art International 3, nos. 3–4 (March–April 1959), pp. 21–26, 53.

Alloway, Lawrence. “The American Sublime.” Living Arts [ICA London] 1, no. 2 (June 1963), pp. 11–22. Reprinted in Lawrence Alloway, Topics in American Art Since 1945, pp. 31–41. New York: W. W. Norton, 1975.

Alloway, Lawrence. “Barnett Newman” [preview of São Paulo exhibition]. Artforum 3, no. 9 (June 1965), pp. 20–22, cover.

Alloway, Lawrence. “Notes on Op Art.” In Topics in American Art Since 1945, pp. 239–44. New York: W. W. Norton, 1975. Based on a lecture given by the author at the Solomon R. Guggenheim Museum, 11 April 1965.

Alloway, Lawrence. “Notes on Barnett Newman.” Art International 13, no. 6 (Summer 1969), pp. 35–39.

Alloway, Lawrence. “The Spectrum of Monochrome.” Arts Magazine 45, no. 3 (December 1970/January 1971), pp. 30–33.

Alloway, Lawrence. “One Sculpture.” Arts Magazine 45, no. 7 (May 1971), pp. 22–24. For correction, see Arts Magazine 45, no. 8 (Summer 1971), p. 64.

Alloway, Lawrence. “Color, Culture, The Stations: Notes on the Barnett Newman Memorial Exhibition.” Artforum 10, no. 4 (December 1971), pp. 31–39.

Alloway, Lawrence. “Art.” The Nation, 17 January 1972, pp. 93“94.

Alloway, Lawrence. “Residual Sign Systems in Abstract Expressionism.” Artforum 12, no. 3 (November 1973), pp. 36–42.

Alloway, Lawrence. “Art” [review of Barnett Newman monograph by Brenda Richardson]. The Nation, 5 April 1980, pp. 412–13.

“Amerikas Prophet mit dem Walroßbart: Große Retrospektive der Arbeiten Barnett Newmans im Amsterdamer Stedelijk Museum.” Die Welt, 27 April 1972 (Edition B), p. unavailable.

Anderson, Kurt. “University Art Museum: From the Streets to High Art.” The Daily Californian, 1 February 1985, pp. 11–12.

Anderson-Reece, Erik. “Who’s Afraid of Corporate Culture: The Barnett Newman Controversy.” The Journal of Aesthetics and Art Criticism 51, no. 1 (Winter 1993), pp. 49–56.

Andreae, Christopher. “Newman: Defying, Transcending.” Christian Science Monitor 61, no. 107 (2 April 1969), p. 6.

Andreae, Christopher. “Modern Art ‘From Scratch.’” Christian Science Monitor 81, no. 237 (2 November 1989), pp. 16–17.

Anfam, David. “Barnett Newman.” In The Dictionary of Art, vol. 23, pp. 27–30. [New York]: Grove, [1996].

Anfam, David. “Philadelphia and London: Barnett Newman.” The Burlington Magazine 144, no. 1194 (September 2002), pp. 583–85.

Antar-Wesly, Jenny. “The New York Art Scene: Barnett Newman.” Vie des Arts, no. 65 (Winter 1971–72), p. 81.

Archer, Michael. “Barnett Newman.” Art Monthly, no. 201 (November 1996), pp. 32–33.

Armstrong, R[ichard]. “The American Revolution.” USA*1, May 1962, pp. 46–53. Revised version published as “Abstract Expressionism Was an American Revolution.” Canadian Art 21, no. 5, issue 93 (September–October 1964), pp. 262–65.

“Art Across the U.S.A.: Outstanding Exhibitions” [solo exhibition at M. Knoedler & Co., Inc.]. Apollo 89, n.s. 86 (April 1969), p. 319.

“Art and Faith in Houston.” Newsweek, 15 March 1971, p. 63.

“Artists vs. Mayor Daley.” Newsweek, 4 November 1968, p. 117.

“Arts and Letters: Day in, Day out.” Time [Canadian edition], 20 October 1961, p. 20.

Ashton, Dore. “Art: The European Art Press on American Art.” Arts and Architecture 75, no. 8 (August 1958), pp. 7, 29–30.

Ashton, Dore. “A Change in Style: Newman Shows Paintings at French & Co. in First Exhibition Here Since 1951.” The New York Times, 12 March 1959, p. 28.

Ashton, Dore. “Art.” Arts and Architecture 76, no. 5 (May 1959), pp. 6–7.

Ashton, Dore. “Report on the New York Gallery Season, Winter 1958–59.” Cimaise 6, no. 5 (June–August 1959), pp. 38, 39.

Ashton, Dore. “New York Report.” Das Kunstwerk 16, nos. 5–6 (November–December 1962), pp. 68–71.

Ashton, Dore. “Barnett Newman and the Making of Instant Legend.” Arts and Architecture 83, no. 5 (June 1966), pp. 4–5, 34.

Ashton, Dore. “Art.” Arts and Architecture 83, no. 10 (November 1966), pp. 6–7.

Ashton, Dore. “Gli inizi: Dell’espressionismo astratto in America.” L’Arte Moderna 13, no. 109 [ca. 1967], pp. 1–40.

Ashton, Dore. “From the 1960s to the Present Day.” In The Genius of American Painting, ed. John Wilmerding, pp. 303–35. New York: William Morrow & Company, Inc., 1973.

Auping, Michael. “Fields, Planes, Systems: Geometric Abstract Painting in America Since 1945.” In Abstraction—Geometry—Painting: Selected Geometric Abstract Painting in America Since 1945, pp. 1393. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1989.

Baigell, Matthew. “American Painting: On Space and Time in the Early 1960’s.” Art Journal 28, no. 4 (Summer 1969), pp. 368–74, 387, 401.

Baigell, Matthew. “The Emersonian Presence in Abstract Expressionism.” Prospects 15 (1990), pp. 91–108.

Baigell, Matthew. “Barnett Newman’s Stripe Paintings and Kabbalah: A Jewish Take.” American Art 8, no. 2 (Spring 1994), pp. 32–42. For Annalee Newman’s rejoinder in a letter to the editor, see American Art 9, no. 1 (Spring 1995), p. 117. For Baigell’s rebuttal, see pp. 117–18. Reprinted in Matthew Baigell, Artist and Identity in Twentieth-Century America, pp. 232–42, 284–85. Cambridge: Cambridge University Press, 2001.

Baker, Elizabeth C. “Brazilian Bouillabaisse.” Artnews 64, no. 8 (December 1965), pp. 30–31, 56–59.

Baker, Elizabeth C. “Barnett Newman in a New Light.” Artnews 67, no. 10 (February 1969), pp. 38–41, 60–62, 64.

Baker, Kenneth. “Reckoning with Notation: The Drawings of Pollock, Newman, and Louis.” Artforum 18, no. 10 (Summer 1980), pp. 32–36.

Baker, Kenneth. “Master Minimalist Still Divides Viewers.” San Francisco Chronicle, 30 March 2002, pp. D1, D10.

Baldwin, Carl R. “Barnett Newman, en quête du sublime.” Connaissance des Arts, no. 248 (October 1972), pp. 78–81.

Bannard, Walter D. “Touch and Scale: Cubism, Pollock, Newman, and Still.” Artforum 9, no. 10 (June 1971), pp. 58–66.

Bannard, Walter D. Review of 1971 Barnett Newman monograph by Thomas B. Hess. The Print Collector’s Newsletter 3, no. 3 (July–August 1972), pp. 63–64. For Thomas B. Hess’s rejoinder, see The Print Collector’s Newsletter 3, no. 4 (September–October 1972), pp. 87–88. For Walter D. Bannard’s rebuttal, see The Print Collector’s Newsletter 3, no. 5 (November–December 1972), p. 112. For Thomas B. Hess’s rebuttal, see The Print Collector’s Newsletter 3, no. 6 (January–February 1973), p. 137.

Barker, Walter. “The Passion Without the Image: Barnett Newman Paints Metaphors of Stations of Cross.” St. Louis Post-Dispatch, 12 June 1966, p. 5C.

Barnes, Lucinda. “A Proclamation of Moment: Adolph Gottlieb, Mark Rothko, and Barnett Newman and the Letter to the New York Times.” Allen Memorial Art Museum Bulletin 47, no. 1 (1993), pp. 2–13.

Barnes, Susan J. “The Making of the Chapel: Broken Obelisk.” In The Rothko Chapel: An Act of Faith, pp. 90–99. Austin: Rothko Chapel/University of Texas Press, 1989.

“Barnett Newman” [solo exhibition at M. Knoedler & Co., Inc.]. Time, 11 April 1969, p. NY1.

“Barnett Newman at the Tate Modern.” The News Line, 25 September 2002, p. 7.

“Barnett Newman—Bilder, Skulpturen, Graphik.” Contour, no. 4 (July/August), 1997, pp. 28–29.

“Barnett Newman e la pittura americana.” L’Arte Moderna 13, no. 117 [ca. 1967], pp. 337–38.

“Barnett Newman in Düsseldorf.” Kunstforum International 138 (September–November 1997), pp. 260–62.

“Barnett Newman/Kiki Smith.” The New Yorker, 14 November 1994, p. 29.

“Barnett Newman Painting Restoration Investigated.” New Art Examiner 19, no. 5 (January 1992), p. 11.

“Barnett Newman: Paintings at Pace Gallery” [in Japanese]. Bijutsu Techo [Tokyo] 40, no. 596 (July 1988), pp. 12–17.

“Barnett Newman, Revolutionary Genius into American Classic.” Vogue, 15 March 1969, pp. 114–15.

Baro, Gene. “London Letter.” Art International 9, no. 5 (June 1965), pp. 67–72.

Barotte, René. “Au Grand Palais: Newman ‘fou de couleur et de lignes.”’ L’Aurore, 25 October 1972, p. unavailable.

Battcock, Gregory. “The Art of the Real: The Development of a Style, 1948–68.” Arts Magazine 42, no. 8 (June/Summer 1968), pp. 44–47.

B[attcock], G[regory]. “Sculpture at Knoedler.” Arts Magazine 44, no. 4 (February 1970), p. 62.

Baudson, Michel. “Paris: Qui a peur du rouge, du jaune, du bleu ou la longue quête . . . de Barnett Newman.” Cles pour les Arts [Brussels], no. 27 (November 1972), p. 20.

Beaucamp, Eduard. “Terror des Erhabenen: Prophet der reinen Malerei: Barnett Newman in Düsseldorf.” Frankfurter Allgemeine Zeitung, 5 June 1997, p. 35.

Belasco, Daniel. “Acts of Creation.” The Jewish Weekly, 19 April 2002, pp. 47–48.

Bell, Tiffany, ed. “On/Über Barnett Newman: Peter Halley and Jeremy Gilbert-Rolfe Talk.” Parkett [Switzerland], no. 16 (1988), pp. 18–27.

B[erkson], W[illiam]. “In the Museums, Recent Exhibitions: Barnett Newman.” Arts Magazine 40, no. 8 (June 1966), p. 44.

Bessenich, Wolfgang. “Essenz der Farben: Farbige Lithos von Barnett Newman.” National-Zeitung Basel, 18 September 1970, p. unavailable.

Bessenich, Wolfgang. “Newman als Zeichner.” Basler Zeitung, 11 May 1981, p. unavailable.

Bihalji-Merin, Oto. “International Look at the USA: Yugoslavian: Crisis and Creation.” Art in America 48, no. 2 (Summer 1960), pp. 49–53.

Blotkamp, Carel. “Barnett Newman—twee schilderijen.” Museumjournaal [Amsterdam] 15, no. 1 (February 1970), pp. 3–11.

Blotkamp, Carel. “De actuele ideeen van Barnett Newman.” Vrij Nederland, 13 May 1972, p. 19.

Boehm, Gottfried. “Die Lehre des Bilderverbotes.” Kunst und Kirche [Germany], no. 1 (1993), pp. 26–31.

Bois, Yve-Alain. “Perceiving Newman.” In Barnett Newman: Paintings, pp. i–xiii. Exh. cat. The Pace Gallery, New York, 1988. Reprinted in Yve-Alain Bois, Painting as Model, pp. 186–213. An October Book. Cambridge, Massachusetts, and London: The MIT Press, 1990. (See Bois 1990.)

Bois, Yve-Alain. “Artist as Critic” [review of O’Neill 1990]. Art in America 79, no. 4 (April 1991), pp. 37, 39, 41.

Bois, Yve-Alain. “Barnett Newman’s Sublime=Tragedy.” In Negotiating Rapture: The Power of Art to Transform Lives, pp. 138–39. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Bois, Yve-Alain. “Here to There and Back.” Artforum, March 2002, pp. 100–108.

Boogaarts, Inez, and Marianne Toussaint. “Crisis in de kunst: ex Cathedra in Arena.” Boekman Cahier [The Netherlands] 35, no. 10 (March 1998), pp. 60–62.

Boswell, Peyton. “Too Many Words.” Art Digest 24, no. 10 (15 February 1950), p. 5. For Barnett Newman’s rejoinder, letter to the editor, and Boswell’s rebuttal, see Art Digest 24, no. 12 (15 March 1950), p. 5.

Bouisset, Maïten. “Dessins, Barnett Newman à Beaubourg: La géométrie avec les accents de la passion.” Le Matin, 29 December 1980, p. unavailable.

Bowness, Alan. “The American Invasion and the British Response.” Studio International 173, no. 890 (June 1967), pp.285–93.

Brandt, Franziska. “Der Anarchist läßt grüßen: Barnett Newmans zeichnerisches Werk in Köln ausgestellt.” Süddeutsche Zeitung, 19 March 1981, p. 37.

Brenson, Michael. “When America Put Its Stamp on World Painting.” The New York Times, 18 October 1987, pp. 39–40.

Brett, Guy. “Barnett Newman at the Tate.” The Times [London], 28 June 1972, p. 13.

Breuning, Margaret. “Symbols and Ideas.” Art Digest 21, no. 9 (1 February 1947). p. 13.

Brockhaus, Christoph. “Barnett Newman—Das zeichnerische Werk.” Museen der Stadt Köln Bulletin, no. 2 (March 1981), p. 23.

Broyard, Anatole. Review of Barnett Newman monograph by Harold Rosenberg. The New York Times, 27 December 1978, p. C21.

Bruckner, D. J. R. “The Art World Answers Chicago’s Mayor Daley.” Los Angeles Times, 20 October 1968, Calendar, pp. 1, 26.

Burnett, D[avid]. “A Declaration of Space: Jackson Pollock and Barnett Newman.” Vanguard [Vancouver] 9, no. 7 (September 1980), pp. 20–23.

Burr, James. Review of Barnett Newman exhibition at the Tate Gallery. Apollo 96, n.s. 125 (July 1972-), pp. 73–74.

Burrows, Carlyle. “Art of the Week: Ideas in Art: The Ideographic Picture.” New York Herald Tribune, 2 February 1947, p. 8.

Calas, Nicolas. “Subject Matter in the Work of Barnett Newman.” Arts Magazine 42, no. 2 (November 1967), pp. 38–40. Reprinted, with fewer illustrations, in Nicolas Calas, Art in the Age of Risk and Other Essays, pp. 208–15. New York: E. P. Dutton & Co., 1968. Reprinted also in Minimal Art: A Critical Anthology, ed. Gregory Battcock, pp. 109–15. New York: E. P. Dutton & Co., 1968.

Calas, Nicolas. “Barnett Newman’s Sense of Space.” In Icons and Images of the Sixties, pp. 177–83. New York: E. P. Dutton & Co., 1971.

Campbell, Peter. “At Tate Modern.” London Review of Books 24, no. 19 (3 October 2002), p. 11.

Campbell-Johnston, Rachel. “A Tale of Two Tates.” The Times [London], 25 September 2002, pp. 14–15.

Canaday, John. “Art with Pretty Thorough Execution: Newman and Alloway Provide the Rope.” The New York Times, 23 April 1966, p. 26. Concerning this review, see “Art Mailbag: Is Canaday Unfair to Newman?” The New York Times, 14 November 1971, p. D21.

Canaday, John. “Nix on Barnett Newman’s Stations of the Cross.” In Culture Gulch: Notes on Art and Its Public in the 1960s, pp. 79–81. New York: Farrar, Straus and Giroux, 1969. The essay is a reprint of Canaday 1966.

Canaday, John. “Modern Museum Opens Barnett Newman Show.” The New York Times, 22 October 1971, p. 32.

Canaday, John. “Mike, Elaine, Woody, Mr. Newman, God, and Me.” The New York Times, 31 October 1971, p. D21. For Thomas B. Hess’s rejoinder in a letter to the editor and for John Canaday’s rebuttal, see The New York Times, 14 November 1971, p. D21.

Canaday, John. “Inane Commentary Deflates Newman Memorial.” Times Herald-Record, 10 November 1971, p. unavailable.

Carlson, Helen. “Diversity of Style and Media: Betty Parsons Gallery.” New York Sun, 14 October 1949, p. 27.

Cash, Stephanie. “Newman’s Cathedra Slashed at Stedelijk.” Art in America 86, no. 1 (January 1998), p. 27.

Castleman, Riva. “Making the Prints.” In The Prints of Barnett Newman, pp. 23–29. Exh. cat. University Gallery, University of Massachusetts, Amherst, 1983.

Cathedra/Troon fact sheet. Op het tweede gezicht [Stedelijk Museum Amsterdam], December 1982, pp. 7–10.

Catoir, Barbara. “Die Nebensache im Vordergrund: Zeichnungen des Farbfeld-Malers Barnett Newman in Köln.” Frankfurter Allgemeine Zeitung, 14 March 1981, p. 23.

Cavaliere, Barbara. “Barnett Newman.” Flash Art [Milan], nos. 96–97 (March–April 1980), pp. 5–7.

Cavaliere, Barbara. “Barnett Newman’s Vir Heroicus Sublimis: Building the ‘Idea Complex.’” Arts Magazine 55, no. 5 (January 1981), pp. 144–52.

Cavaliere, Barbara, and Robert C. Hobbs. “Against a Newer Laocoon.” Arts Magazine 51, no. 8 (April 1977), p. 110. For Annalee Newman’s rejoinder in a letter to the editor, see Arts Magazine 52, no. 1 (September 1977), p. 41.

“Celebration of Genius at the Rothko Chapel.” Vogue, 1 March 1971, p. 109.

Chandler, John Noel. “The Colors of Monochrome: An Introduction to the Seduction of Reduction.” Artscanada, October/November 1971, pp. 18–31.

Chanin, A. L. “Art” [review of group exhibition at the Betty Parsons Gallery]. The Nation, 7 January 1956, pp. 19–20.

Charrière, Edmond. “La triade et le monochrome.” Art Press [Paris], no. 128 (September 1988), pp. 14–17.

C[hassey], É[ric de]. “Un américain à Londres.” Connaissance des Arts, no. 598 (October 2002), p. 30.

Clair, Jean. “Barnett Newman: Une peinture debout.” Chroniques de l’Art Vivant, no. 34 (November 1972), p. 8.

Colby, Joy Hakanson. “At Art Institute, Drawings with Zip.” The Detroit News, 19 August 1979, p. 6E.

Collins, Bradford R. “ Life Magazine and the Abstract Expressionists, 1948–51: A Historiographic Study of a Late Bohemian Enterprise.” The Art Bulletin 73, no. 2 (June 1991), pp. 283–308.

Cooke, Lynne. “Held, Louis, and Newman.” Artscribe [London], no. 23 (June 1980), pp. 41–45.

Coomer, Martin. “Zip Code.” Time Out, 2–9 October 2002, p. 44.

Cork, Richard. “The Positive Art of Self-Destruction.” Evening Standard, 6 July 1972, p. unavailable.

Craven, David. “Abstract Expressionism, Automatism, and the Age of Automation.” Art History [U.K.] 13, no. 1 (March 1990), pp. 72–103.

C[rehan], H[ubert]. “Barnett Newman” [exhibition at French and Company, Inc.]. Artnews 58, no. 2 (April 1959), p. 12. For the rejoinders by “H. Rumbold” and Barnett Newman as well as for Crehan’s rebuttal, see Artnews 58, nos. 3 (May 1959) and 4 (Summer 1959), p. 6. See also “Editor’s letters.” Artnews 58, no. 6 (September 1959), p. 6.

Crépu, M. “Abraham à New York: Leçon des ténèbres: À propos de Barnett Newman.” Esprit [Paris] 9 (September 1982), pp. 34–41.

Crowther, Paul. “Barnett Newman and the Sublime.” The Oxford Art Journal 7, no. 2 (1984), pp. 52–59. Reprinted in Paul Crowther, The Language of Twentieth-Century Art: A Conceptual History, pp. 149–63. New Haven and London: Yale University Press, 1997.

Csaczar, Tom. “Philadelphia: Barnett Newman: The Philadelphia Museum of Art.” Sculpture [Washington, D.C.] 21, no. 9 (November 2002), pp. 77–78.

Curzi, Lucien. “Barnett Newman: À la verticale de la couleur.” L’Humanité, 12 October 1972, p. unavailable.

Danese, Renato. “Barnett Newman: 18 Cantos.” The Baltimore Museum of Art Record 3, no. 9 (June 1973), unpaginated.

Darwent, Charles. “Just What Is He on About?” The Independent, 29 September 2002, p. 13.

Davis, Douglas M. “After Ten Years, a One-Man Show by Mr. Newman.” National Observer, 14 April 1969, p. 20.

Davis, Douglas. “The Red, the Yellow, the Blue.” Newsweek, 18 October 1971, pp. 90–93.

de Bolla, Peter. “Serenity: Barnett Newman’s ‘Vir Heroicus Sublimis.”’ In Art Matters, pp. 23–55. Cambridge, Massachusetts, and London: Harvard University Press, 2001.

Denvir, Bernard. “London Letter” [includes review of Barnett Newman exhibition at the Tate Gallery]. Art International 16, no. 8 (October 1972), p. 44.

Dering, Peter. “Mit Streifen gegen europäische Nostalgie: Barnett Newman zu Gast in Düsseldorf.” Die Welt, 11 June 1997, p. 12.

Deschamps, Madeleine. “B. Newman entre le texte et le zip.” Art Press [Paris], no. 35 (March 1980), pp. 22–23.

Deschamps-Huppert, Madeleine. “Barnett Newman.” Revue d’Esthétique 26, no. 1 (1973), pp. 57–59.

Dickson, Joanne A. “Barnett Newman’s ‘Cantos.’” Artweek [Oakland, California], 17 September 1977, pp. 1, 16.

Didi-Huberman, Georges. “Supposition de l’aura: Du maintenant, de l’autrefois et de la modernité.” Les Cahiers du Musée National d’Art Moderne, no. 64 (Summer 1998), pp. 94–115. English version, “The Supposition of the Aura: The Now, the Then, and Modernity,” published in Negotiating Rapture: The Power of Art to Transform Lives, pp. 48–63. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Diemer, Karl. “Der Heilige mit dem Zip: Kölner Museum Ludwig zeigt Barnett Newman.” Stuttgarter Nachrichten, 5 March 1981, p. unavailable.

Dienst, Rolf-Gunter. “Absolute Malerei: Zu einer Kunst der Reduktion und Differenzierung.” Das Kunstwerk 34, no. 4 (1981), pp. 3–47.

Dienst, Rolf-Gunter. “Gesänge auf Stein.” Frankfurter Allgemeine Zeitung, 29 August 1996, p. 32.

Dillenberger, Jane. “The Stations of the Cross by Barnett Newman.” In Secular Art with Sacred Themes, pp. 99–116. Nashville and New York: Abingdon Press, [1969]. Originally published as “The Abstraction of Agony: Barnett Newman’s Stations of the Cross.” Religion in Life: A Christian Quarterly of Opinion and Discussion, Summer 1969, pp. 183–97.

Dippel, Rini. “Barnett Newman (1905–1970) : Overzichtstentoonstelling in het Stedelijk Museum Amsterdam, 31 Maart–22 Mei.” Museumjournaal [Amsterdam], ser. 17, April 1972, pp. 55–58.

Dorment, Richard. “Thin Lines, Thick with Emotion.” The Daily Telegraph, 18 September 2002, p. 25.

Dückers, Alexander. “Barnett Newman (1905–1970): ‘18 Cantos,’ Mappenwerk mit achtzehn Lithographien, 1963–64.” Jahrbuch Preuβischer Kulturbesitz 25 (1989), pp. 250–54.

Dunlop, Ian. “Edvard Munch, Barnett Newman, and Mark Rothko: The Search for the Sublime.” Arts Magazine 53, no. 6 (February 1979), pp. 128–30.

Duve, Thierry de. “Who’s Afraid of Red, Yellow, and Blue?” Artforum 22, no. 1 (September 1983), pp. 30–37.

Duve, Thierry de. “Ex situ.” Les Cahiers du Musée National d’Art Moderne, no. 27 (Spring 1989), pp. 39–55.

Duve, Thierry de. “Vox ignis vox populi.” Parachute [Canada], no. 60 (October–December 1990), pp. 29–38. Reprinted in Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 81–95. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Egenhofer, Sebastian. Review of German translation of O’Neill 1990. Kunstforum International, no. 136 (February–May 1997), p. 492.

“Eight New York Painters.” Vogue, 15 October 1959, pp. 90–91.

Elderfield, John. “Mondrian, Newman, Noland: Two Notes on Changes of Style.” Artforum 10, no. 4 (December 1971), pp. 48–53.

Elliott, David. “Newman’s Sober Crusade in Esthetics.” Chicago Sunday Times, 11 November 1979, p. unavailable.

Engelhard, Günter. “Der Kosmos platzt: Das zeichnerische Werk von Barnett Newman im Basler Kunstmuseum.” Weltwoche, 3 June 1981, p. 31.

Epperlein, Beate. “Ganzfelder und Monochromie in der Malerei: Barnett Newman.” In Monochrome Malerei: Zur Unterschiedlichkeit des vermeintlich Ähnlichen, pp. 37–42. Nuremberg: Verlag für Moderne Kunst, [1997].

Fechner-Smarsly, Thomas. “Der absolute Augenblick: Skupturen und Bilder von Barnett Newman in der Kunstsammlung Nordrhein-Westfalen. ” Frankfurter Rundschau, 23 May 1997, p. 7. Reprinted in Neue bildende Kunst, no. 4 (August–September 1997), pp. 89–90.

Fedier, Franz. “Barnett Newman 1905–1970: White Fire II, 1960.” Kunstnachrichten 13, no. 6 (September 1977), pp. 164–65.

Feest, Christian F. “Identitäten und Irrtümer: Indianische und moderne Kunst.” In Kulturen— Verwandtschaften in Geist und Form, pp. 131–48. Exh. cat. Galerie nächst St. Stephan, Vienna, 1990.

Felix, Zdenek. “Zur Neuerwerbung des Gemäldes ‘Prometheus Bound’ von Barnett Newman.” Museum Folkwang Essen Mitteilungen 10/11 (1976/77), pp. 37–45.

Ferretti, Fred. “Houston Getting a Sculpture After All.” The New York Times, 26 August 1969, p. 37.

Fichner-Rathus, Lois. “Abstract Expressionism.” In Sam Hunter, ed. The Dada/Surrealist Heritage, pp. 9–12. Exh. cat. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1977.

Fineberg, Jonathan. “Barnett Newman.” In Art Since 1940: Strategies of Being, pp. 98–106. Englewood Cliffs, New Jersey: Prentice Hall, 1995.

Firestone, Evan R. “Color in Abstract Expressionism: Sources and Background for Meaning.” Arts Magazine 55, no. 7 (March 1981), pp. 140–43.

Firestone, Evan R. “James Joyce and the First Generation New York School.” Arts Magazine 56, no. 10 (June 1982), pp. 116–21.

Fisher, Lucy. “Primal Force.” Time, 14 October 2002, pp. 92–94.

Fitzsimmons, James. Editorial [concerning group exhibition at Kunstmuseum St. Gallen]. Art International 3, nos. 1–2 (1959), p. 17.

“Five Sculptors: Hague, Segal, Di Suvero, Smith, Newman.” Location 1, no. 1 (Spring 1963), pp. 81–89.

Flanders, Judith. “Newman Unzipped.” Times Literary Supplement, 11 October 2002, p. 20.

[Francis, Richard]. “Barnett Newman.” In Negotiating Rapture: The Power of Art to Transform Lives, pp. 140–47. Exh. cat. Museum of Contemporary Art, Chicago, 1996.

Frank, Elizabeth. “At the Galleries” [concerning Barnett Newman exhibition at the Pace Gallery]. Partisan Review 55, no. 4 (Fall 1988), pp. 632–33.

Franzke, Andreas. “Newmans absolute Formen.” In Skulpturen und Objekte von Malern des 20. Jahrhunderts, pp. 228–34. Cologne: DuMont, 1982.

French, Philip. “In General: Meeting Barnett Newman.” The New Statesman [London], 28 January 1972, p. 120.

Fried, Michael. “New York Letter.” Art International 6, no. 10 (20 December 1962), pp. 54–58.

Fried, Michael. “New York Letter.” Art International 7, no. 5 (25 May 1963), pp. 69–73.

Fried, Michael. “Modernist Painting and Formal Criticism.” American Scholar 33 (Autumn 1964), pp. 642–48.

Fried, Michael. Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella. Exh. cat. Fogg Art Museum, Harvard University, Cambridge, 1965.

Friedman, B. H. “‘The Irascibles’: A Split Second in Art History.” Arts Magazine 53, no. 1 (September 1978), pp. 96–102.

Frimbois, Jean-Pierre. “Barnett Newman du void au zip.” Art Actuel, September 2002, pp. 86–92.

Fuchs, R[udi]. “Barnett Newmans ambitie.” Vrij Nederland, 13 May 1972, p. unavailable.

Fuller, Peter. “Barnett Newman at the Tate.” Arts Review 24, no. 14 (15 July 1972), p. 423.

Gachnang, Johannes. “Day Before One—Ein Bild und ein Buch.” In Barnett Newman: Schriften und Interviews 1925–1970, ed. John P. O’Neill, trans. Tarcisius Schelbert, pp. 407–10. Bern and Berlin: Gachnang & Springer, 1996.

Gagnon, François-Marc. “. . . sur la voie.” Vie des Arts, 24, no. 98 (Spring 1980), pp. 31–33.

García-Herráiz, Enrique. “Crónica de Nueva York.” Goya 92 (September–October 1969), pp. 109–13.

García-Herráiz, Enrique. “Crónica de Nueva York.” Goya 99 (November–December 1970), pp. 172–78.

Gaugh, Harry F. “Reappraising the New York School.” In An American Renaissance: Painting and Sculpture Since 1940, pp. 27–61. Exh. cat. Museum of Art, Fort Lauderdale, 1986.

Gaul, Winfred. “Amerika, hast Du es besser? Marginalien zu einem Aufenthalt in New York.” Das Kunstwerk 9, no. 16 (March 1963), pp. 2–13.

Gayford, Martin. “The Avant-Garde Dandy.” Telegraph, 7 September 2002, p. A10.

Gayford, Martin. “Star of the Stripes.” The Spectator [London], 21 September 2002, pp. 53–54.

Gayford, Martin. “Being in a Field.” Modern Painters, Autumn 2002, pp. 60–65.

Geelhaar, Christian. “Museen und Galerien, The Metropolitan Museum of Art: Ausstellung Barnett Newman— Complete Drawings 1944–1969.” Pantheon [Munich] 38, no. 3 (July–September 1980), pp. 237–38.

G[enauer], E[mily]. “Barnett Newman Exhibit.” New York Herald Tribune, 26 January 1950, p. 19.

Genauer, Emily. “Art and Artists: Super-Realistic Old and Nearly Blank Modern Art Both ‘Fool the Eye.’” New York Herald Tribune, 6 May 1951, sec. 4, p. 5.

Genauer, Emily. “The Great Void: Now Come ‘Inaction’ Painters Shouting a Significant Silence.” New York Herald Tribune, 15 March 1959, sec. 4, p. 7.

Genauer, Emily. “Christ’s Journey on Canvas.” New York Herald Tribune, 20 April 1966, p. 20.

G[enauer], E[mily]. “Barnett Newman.” New York Herald Tribune, 23 April 1966, p. 7.

Genauer, Emily. “Realer Than Real.” New York Post, 6 July 1968, magazine, p. 42.

Genauer, Emily. “Art and the Artist.” New York Post, 10 October 1971, p. 34.

Getlein, Frank. “Kidding the Id in Minneapolis.” The New Republic 137, nos. 9–10 (26 August 1957), p. 21. For Barnett Newman’s rejoinder and Getlein’s rebuttal, see The New Republic 137, nos. 17–18 (28 October 1957), p. 23.

Gibson, Ann. “Regression and Color in Abstract Expressionism: Barnett Newman, Mark Rothko, and Clyfford Still.” Arts Magazine 55, no. 7 (March 1981), pp. 144–53.

Gibson, Ann. “Barnett Newman and Alberto Giacometti.” Issue [New York], no. 3 (Spring/Summer 1985), pp. 2–9. See also Pat Passlof’s rejoinder, “Nostalgia,” in Issue, no. 5 (Winter 1986), pp. 2–5.

Gibson, Ann. “Monochrome Malerei in Amerika seit 1950.” Kunstforum International, no. 88 (March–April 1987), pp. 114–26.

Gibson, Ann. “Retracing Original Intentions: Barnett Newman and Tiger’s Eye.” Art International 31, no. 5 (Winter 1988), pp. 14–23.

Gibson, Michael. “Barnett Newman—Midrash and Beyond.” International Herald Tribune [Paris], 14–15 October 1972, p. 7.

Giger, Romeo. “Vom Werden des Kunstwerks: Barnett Newmans graphisches Gesamtœuvre in Bern.” Neue Zürcher Zeitung, 19 December 1996, p. 39.

Glaser, David J. “Transcendence in the Vision of Barnett Newman.” The Journal of Aesthetics and Art Criticism 40, no. 4 (Summer 1982), pp. 415–20.

Glozer, Laszlo. “Wer hat Angst vor Rot, Gelb und Blau?” Süddeutsche Zeitung, 27 July 1972, p. 8. Reprinted, as “Barnett Newman,” in Laszlo Glozer, Kunstkritiken, pp. 236–41. Frankfurt am Main: Suhrkamp, 1974.

Glueck, Grace. “Seven for São Paulo.” The New York Times, 23 May 1965, sec. 2, p. 18.

Godfrey, Mark. “At Onement: Jewish Approaches to the Art of Barnett Newman.” The Jewish Quarterly, Winter 2002, pp. 17–22.

Goosens [sic], E. C. “The Philosophic Line of B. Newman.” Artnews 57, no. 4 (Summer 1958), pp. 30–31, 62–63. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, pp. 332–35. Cambridge and New York: Cambridge University Press, 1990.

Goossen, E[ugene] C. “The Big Canvas.” Art International 2, no. 8 (1958), pp. 45–47. Reprinted in The New Art: A Critical Anthology, ed. Gregory Battcock, pp. 5765. New York: E. P. Dutton & Co., 1973.

Gopnik, Blake. “Barnett Newman, Laying It All on the Line.” Washington Post, 28 April 2002, p. G1.

Gosling, Nigel. “Uptight Iconoclast.” The Observer Review, 9 July 1972, p. 31.

Goy, Bernard. “Barnett Newman: À partir du bord.” In Le cadre et le socle dans l’art du 20ème siècle, pp. 146–47. Exh. cat. Paris and Dijon, Musée National d’Art Moderne and Université de Bourgogne, 1987.

Graham-Dixon, Andrew. “Divide and Rule.” The Sunday Telegraph Magazine, 20 September 2002, pp. 40–42.

Granath, Olle. “Ad Reinhardt och Barnett Newman.” Artes [Stockholm], no. 3/1979, pp. 32–48.

Grant, Lucille. “Barnett Newman.” Jewish Renaissance, Summer 2002, p. 37.

Gray, Cleve. “The Portfolio Collector: Print Review.” Art in America 53, no. 3 (June 1965), pp. 92–95.

Greenberg, Clement. “Art” [review of Hedda Sterne and Adolph Gottlieb exhibitions]. The Nation, 6 December 1947, pp. 629–30. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 2, pp. 187–89. Chicago and London: The University of Chicago Press, 1986. Newman’s comment was first published in Thomas B. Hess, Barnett Newman, pp. 36–38. Exh. cat. New York: The Museum of Modern Art, 1971. Reprinted in Ellen Johnson, American Artists on Art 1940–1980, p. 17. New York: Harper & Row, 1982. Reprinted in O’Neill 1990, pp. 161–64.

Greenberg, Clement. “Art Chronicle.” Partisan Review 19 (January–February 1952), pp. 100–101. Revised and reprinted in Clement Greenberg, Art and Culture: Critical Essays, pp. 150–51. Boston: Beacon Press, 1961. Reprint of original version, as “Feeling Is All (Newman),” in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, pp. 330–31. Cambridge and New York: Cambridge University Press, 1990. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 3, pp. 99–106. Chicago and London: The University of Chicago Press, 1993.

Greenberg, Clement. “‘American-Type’ Painting.” Partisan Review 22, no. 2 (Spring 1955), pp. 179–96. Revised and reprinted in Clement Greenberg, Art and Culture: Critical Essays, pp. 208–29. Boston: Beacon Press, 1961. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 3, pp. 217–36. Chicago and London: The University of Chicago Press, 1993. Reprinted in Modern Art and Modernism: A Critical Anthology, ed. Francis Frascina and Charles Harrison, pp. 93–103. New York: Harper & Row Publishers, [1982]. For Newman’s rejoinder, see O’Neill 1990, pp. 202–4.

Greenberg, Clement. Introduction to Barnett Newman. Exh. cat. Bennington College, Bennington, Vermont, 1958. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 4, pp. 54–55. Chicago and London: The University of Chicago Press, 1993.

Greenberg, Clement. “After Abstract Expressionism.” Art International 6, no. 8 (25 October 1962), pp. 24–32. Reprinted in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 4, pp. 121–34. Chicago and London: The University of Chicago Press, 1993.

Greenberg, Clement. “Clement Greenberg’s View of Painting and Sculpture in Prairie Canada Today” [Newman at Emma Lake]. Canadian Art 20, no. 2, issue 84 (March–April 1963), pp. 90–107. Reprinted as “Painting and Sculpture in Prairie Canada Today” in Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. 4, pp. 153–75. Chicago and London: The University of Chicago Press, 1993.

Gruen, John. “Art in New York: Love Affair.” New York Magazine, 7 April 1969, p. 58.

Guilbaut, Serge. “Aztèques et celtes: À l’assaut de l’histoire contemporaine.” In Arte, historia e identidad en América: Visiones comparativas, ed. Gustavo Curiel, vol. 3, pp. 809–19. Mexico, D.E: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 1994.

Guilbaut, Serge. “L’avant-veille américaine: Barnett Newman, le Mexique et l’art moderne.” In Les “Vies” d’artistes, ed. Matthias Waschek, pp. 253–70. Conference report. Paris, École nationale supérieure des Beaux-Arts, 1996.

Haase, Amine. “Der Maler als Philosoph: Barnett Newman, der Erfinder ‘sublimer’ Bilder, in Düsseldorf.” Kölner Stadt-Anzeiger, 21 May 1997, p. 8.

Harrison, Charles. “Abstract Expressionism II: No. 8, Barnett Newman.” Studio International 185, no. 952 (February 1973), pp. 54–55.

Hartel, Herbert R., Jr. Review of Barnett Newman monograph by Ann Temkin et al. The Art Book 9, no. 4 (September 2002), pp. 12–13.

Heiser, Jörg. “Vor und nach dem Reißverschluss.” Süddeutsche Zeitung, 26 September 2002, p. 13.

Helfer, Judith. “Der Maler Barnett Newman als Zeichner.” Aufbau [New York], 4 April 1980, p. unavailable.

Henning, Edward B. “Color and Field.” Art International 15, no. 5 (20 May 1971), pp. 46–50.

Henric, Jacques. “Barnett Newman: Comme dieu au-dessus de la grammaire.” In Peinture américaine, pp. 47–60. Paris: Editions Galilée/Art Press, 1980.

Hensher, Philip. “Lining Up Some True Beauties . . .” The Mail on Sunday, 22 September 2002, p. 77.

H[ess], T[homas] B. “Reviews and Previews: Barnett Newman.” Artnews 49, no. 1 (March 1950), p. 48.

H[ess], T[homas] B. “Reviews and Previews: Barnet Newmann” [sic]. Artnews 50, no. 4 (June–August 1951), p. 47. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, p. 329. Cambridge and New York: Cambridge University Press, 1990.

Hess, Thomas B. “Where U.S. Extremes Meet.” Artnews 51, no. 2 (April 1952), pp. 16–19, 65–66.

H[ess], T[homas] B. “Willem de Kooning and Barnett Newman” [concerning the simultaneous solo exhibitions at the Allan Stone Gallery]. Artnews 61, no. 8 (December 1962), p. 12.

H[ess], T[homas] B. “Editorial: New Man in Town.” Artnews 66, no. 7 (November 1967), p. 27.

H[ess], T[homas] B. “Historico-Iconographical Footnote” [concerning Newman’s essay “Chartres and Jericho” (Newman 1969a)]. Artnews 68, no. 2 (April 1969), pp. 28–29.

H[ess], T[homas] B. “Editorial: Can Art Be Used?” [concerning the dedication of the Rothko Chapel and Newman’s Broken Obelisk]. Artnews 70, no. 2 (April 1971), p. 33.

Hess, Thomas B. “Barnett Newman: American Artist.” Vogue, 1 November 1971, pp. 122–29.

Hess, Thomas B. “Notes on Newman’s ‘Notes.’” The Print Collector’s Newsletter 2, no. 6 (January–February 1972), pp. 121–23.

Hess, Thomas B. “The Force of Barnett Newman.” Intellectual Digest, June 1972, pp. 41–45.

Hess, Thomas B. “Some Postcards from Barnett Newman: A Photographic Footnote.” Art in America 64, no. 1 (January–February 1976), pp. 80–81.

Hess, Thomas B. “Barnett Newman: The Stations of the Cross—Lema Sabachthani.” In American Art at Mid-Century: The Subjects of the Artist, pp. 184–213. Exh. cat. National Gallery of Art, Washington, D.C., 1978.

Hess, Thomas B. “Sketch for a Portrait of the Art Historian Among Artists.” Social Research 45, no. 1 (1978), p. unavailable. Reprinted in Meyer Schapiro: Works of Art 1919–1979, pp. 3–5. Exh cat. Department of Art History and Archaeology, Columbia University, New York, 1987.

Heuman, Joshua. Review of Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian. Toronto, Buffalo, and London: University of Toronto Press, [1996]. RACAR, Revue d’Art Canadienne I Canadian Art Review 23, nos. 1–2 (1996), pp. 104–10.

Hollenstein, Roman. ‘“Das Sublime ereignet sich jetzt:’ Barnett Newmans Druckgraphik in der Graphiksammlung der ETH.” Neue Zürcher Zeitung, 19 November 1986, p. 33.

Holmes, Ann. “City May Be Given Celebrated Sculpture.” Houston Chronicle, 2 May 1969, p. unavailable.

Holmes, Ann. “The Rothko Chapel Six Years Later.” Artnews 75, no. 10 (December 1976), pp. 35–37. For S. W. Swan’s rejoinder, “The ‘Broken Obelisk,”’ see Artnews 76, no. 4 (April 1977), p. 34.

Honisch, Dieter. “Neuerwerbungen der Nationalgalerie 1981: Barnett Newman, Who’s Afraid of Red, Yellow and Blue IV.” Jahrbuch Preussischer Kulturbesitz 18 (1981), pp. 219–28.

Hooker, Richard. “Sublimity as Process: Hegel, Newman and Shave.” Art & Design [London] 10, nos. 1–2 (January–February 1995), pp. 42–53.

Hopps, Walter. “Barnett Newman.” In VIII Bienal do Museu de Arte Moderna: Representaçao dos Estados Unidos da America/ United States of America, pp. [7–22]. Exh. cat. The United States of America Pavilion, São Paulo, 1965. Reprinted in VIII São Paulo Biennial: United States of America, pp. [7–22]. Exh. cat. Washington, D.C., National Collection of Fine Arts, Smithsonian Institution, 1966.

Hopps, Walter. “United States Exhibit, São Paulo Bienal.” Art in America 53, no. 5 (October–November 1965), p. 82.

“Houston—An Overview: Supergall.” The Architectural Forum 136, no. 3 (April 1972), pp. 34–38.

Hs [Richard Häsli]. “Barnett Newman: Ausstellung in der Tate Gallery.” Neue Zürcher Zeitung, 10 July 1972 (Morgenausgabe, no. 316), p. 21.

Hubbard, Sue. “Place of Silence.” Royal Academy Magazine, Autumn 2002, p. 22.

Hudson, Andrew. “Canada’s Place in Abstract Art Today.” The Canadian Forum 44, no. 520 (May 1964), pp. 27–28.

Hudson, Andrew. “Newman Brings Grandeur to Town.” The Washington Post, 30 January 1966, p. G9.

Hudson, Andrew. “Shows Are Rich in Comparison.” The Washington Post, 21 May 1967, p. unavailable.

Hudson, Andrew. “Scale as Content: Bladen, Newman, Smith at the Corcoran.” Artforum 6, no. 4 (December 1967), pp. 46–47. For Barnett Newman’s rejoinder, see Artforum 6, no. 7 (March 1968), p. 4.

Hudson, Andrew. “On Jules Olitski’s Painting—and Some Changes of View.” Art International 12, no. 1 (January 1968), pp. 31–36.

Hughes, Robert. “Pursuit of the Sublime.” Time, 18 October 1971, pp. 66–69.

Hummelen, Ysbrand. “‘Who’s Afraid of Red, Yellow and Blue III,’ Barnett Newman.” Zeitschrift für Kunsttechnologie und Konservierung 6, no. 2 (1992), pp. 215–22.

Hunter, Sam. “Abstract Expressionism Then—and Now.” Canadian Art 21, no. 5, issue 93 (September–October 1964), pp. 266–69.

Hunter, Sam. “Action Painting: La generazione eroica.” L’Arte Moderna 13, no. 110 [ca. 1967], pp. 41–80.

Hunter, Sam. “The Most Outrageous ‘Irascibles’: Ad Reinhardt and the Color-Field Painters.” In The “Irascibles” and the New York School, pp. 135–39. Exh. cat. Venice, Musei Civici Veneziani, 2002.

“Ideographic.” Artnews 45, no. 12 (February 1947), p. 44.

Imdahl, Max. “Moderne Kunst und visuelle Erfahrung.” Neue Zürcher Zeitung, 15–16 February 1986, p. 65.

Imdahl, Max. “Bild—Totalität und Fragment.” In Die Unersetzbarkeit des Bildes: Zur Erinnerung an Max Imdahl, pp. 86–95. Exh. cat. Westfälischer Kunstverein, Münster, 1996.

“Inaugura-se no sábado a 8.a Bienal: Barnett Newman fala de arte e de sua geração.” Estado de S. Paulo, 29 August 1965, p. 18.

Jachec, Nancy. “The Space Between Art and Political Action: Abstract Expressionism and Ethical Choice in Postwar America 1945–1950.” The Oxford Art Journal 14, no. 2 (1991), pp. 18–29.

Jackson, Kevin. “Zip Code.” World of Interiors 22, no. 9 (September 2002), pp. 106–9.

Januszczak, Waldemar. “Forget the Standard Line About Barnett Newman: The Stripes Are a Testament to His Spirituality.” The Sunday Times: Culture, 29 September 2002, pp. 10–11.

Jehle, Werner. “Basler Kunstchronik.” Werk 56, no. 5 (May 1969), pp. 352–53.

Jewell, Edward Alden. “Other Events” [concerning Northwest Coast Indian painting exhibition organized by Newman]. The New York Times, 6 October 1946, p. 8 X.

Jewell, Edward Alden. “New Phase in Art Noted at Display: ‘Ideographic Picture’ Is Title of Provocative Group Exhibition at Betty Parsons Gallery.” The New York Times, 23 January 1947, p. 21.

Jewell, Edward Alden. “By British Masters: Hogarth, Constable, Turner Represented— Lachaise Retrospective—Others.” The New York Times, 26 January 1947, sec. 2, p. 9.

Jochims, Raimer. “Christliche Kunst im 20. Jahrhundert: Beispiele.” Das Münster 41, no. 1 (1988), pp. 19–30.

Johnsrud, Even Hebbe. “Barnett Newman: Den tragiske dimensjon i kunsten” [The tragic dimension in art]. Kunst og Kultur [Oslo] 66, no. 1 (1983), pp. 18–28.

Jones, Ronald. “Barnett Newman: His Historical Position Resembles Our Own.” Flash Art International, no. 141 (Summer 1988), pp. 154–55.

Jover, Manuel. “Barnett Newman: L’ouverture éclair.” Beaux Arts Magazine, no. 221 (October 2002), p. 32.

J[udd], D[onald]. “In the Galleries: Black and White.” Arts Magazine 38, no. 6 (March 1964), p. 65.

Judd, Donald. “Barnett Newman.” Studio International 179, no. 919 (February 1970), pp. 67–69. Reprinted in Donald Judd, Complete Writings 1959–1975, pp. 200–202. The Nova Scotia series. New York: New York University Press, 1975. Reprinted again in Modern Art and Modernism: A Critical Anthology, ed. Francis Frascina and Charles Harrison, pp. 129–32. New York: Harper & Row Publishers, [1982]. Originally written November 1964 for the German periodical Das Kunstwerk but not published.

Judd, Donald. “Barnett Newman.” Art Press [Paris], no. 1 (December 1972–January 1973), pp. 11–12.

Jürgen-Fischer, Klaus. “Neue Abstraktion.” Das Kunstwerk 18, nos. 10–12 (April–May 1965). Special issue devoted exclusively to the new abstraction.

K[aak], J[oachim]. “Barnett Newman: Zim Zum II.” In Soll und Haben: Dauerleihgaben und Neuerwerbungen 1990–93, pp. 42–43. Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 1993.

Kaprow, Allan. “Impurity.” Artnews 61, no. 9 (January 1963), pp. 30–33, 52–55. Reprinted in Essays on the Blurring of Art and Life, ed. Jeff Kelley, pp. 27–45. Berkeley and Los Angeles: University of California Press, [1993].

Kaufmann, David. “Zip and Zim” [letter to the editor]. Artforum, May 2002, p. 22. For rejoinder by Yve-Alain Bois, see ibid.

Kelley, Jeff. “Exhibit on Newman’s Studied Side.” Los Angeles Times, 16 May 1984, sec. IV, pp. 1, 8.

Kerber, Bernhard. “Der Ausdruck des Sublimen in der amerikanischen Kunst.” Art International 13, no. 10 (December 1969), pp. 31–36.

Kerber, Bernhard. “Streifenbilder: Zur Unterscheidung ähnlicher Phänomene.” Wallraf-Richartz-Jahrbuch 32 (1970), pp. 235–56.

Kerber, Bernhard. “Brief aus Berlin.” Art International 25, nos. 9–10 (November–December 1982), p. 55.

Kimmelman, Michael. “Newman’s Quest for a Vocabulary.” The New York Times, 15 April 1988, p. C20.

Kimmelman, Michael. “Epiphany in a Vibrant Universe Depicting Nothing But Itself.” The New York Times, 12 April 2002, pp. E33, E35.

Kingsley, April. “New York: Baziotes, Newman, Motherwell, Dehner, Hare.” The Burlington Magazine 130, no. 1024 (July 1988), pp. 561–63.

Kirili, Alain. “‘Here One,’ a White Sculpture” [in French and English]. In Alain Kirili, pp. 10, 14, 18–19. Exh. cat. Musée St. Pierre, Art Contemporain, Lyons, 1984. The essay was written in 1977.

Kirili, Alain. “Barnett Newman, sculpture blanche.” In Statuaire, pp. 129–33. Collection “L’infini.” Paris: Editions Denoël, 1986.

Kirili, Alain, and Gérard-Georges Lemaire [interview]. “ À propos de sculptures de Giacometti, de Newman et de quelques autres.” Opus International [France], no. 96 (Winter 1984), pp. 40–43.

Klaster, Jan Bart. “Red Alert.” Artnews 91, no. 2 (February 1992), pp. 31–32.

Kölgen, Birgit. “Kunst auf der Suche nach Erhabenheit: Skulpturen und Gemälde von Barnett Newman in Düsseldorf.” Westfälische Rundschau, 17 May 1997, p. 5.

Kosbab, Frances. “Gallery Reviews: Barnett Newman.” New York Nightsounds, May 1969, p. 11.

Kozloff, Max. “A Letter to the Editor.” Art International 7, no. 6 (25 June 1963), pp. 88–92.

Kozloff, Max. “The Many Colorations of Black and White.” Artforum 2, no.8 (February 1964), pp. 22–25.

Kozloff, Max. “Art and the New York Avant-Garde.” Partisan Review 31, no. 4 (Fall 1964), pp. 535–54.

Kozloff, Max. “The Critical Reception of Abstract-Expressionism.” Arts Magazine 40, no. 2 (December 1965), pp. 27–33.

Kozloff, Max. “São Paulo in Washington.” The Nation, 28 February 1966, pp. 250–52.

Kozloff, Max. “Art” [concerning Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. The Nation 202, no. 20 (16 May 1966), p. 598.

Kramer, Hilton. “Month in Review” [concerning Barnett Newman exhibition at French and Company, Inc.]. Arts Magazine 33, no. 7 (April 1959), p. 45.

Kramer, Hilton. “The Latest Thing in Pittsburgh.” Arts Magazine 36, no. 4 (January 1962), pp. 24–27.

Kramer, Hilton. “U.S. Art from São Paulo on View in Washington.” The New York Times, 29 January 1966, p. 22.

Kramer, Hilton. “Sculpture: 3 Big Ones.” The New York Times, 7 October 1967, sec. 2, p. 24.

Kramer, Hilton. “The Studio vs. the Street.” The New York Times, 15 October 1967, p. D23.

Kramer, Hilton. “Jackson Pollock and Barnett Newman.” The New York Times, 15 February 1980, p. C19.

Krämer-Badoni, Rudolf. “Der Stein wurde ihm zum Instrument: Das Frankfurter Städel zeigt Barnett Newmans Litho-Zyklus der ‘Cantos.’” Die Welt, 16 June 1987, p. 31.

Krasne, Belle. “The Bar Vertical on Fields Horizontal.” Art Digest 25, no. 15(1 May 1951), p. 16.

Krüger, Werner. “Gesten des wilden Temperaments: Barnett Newman im Kölner Museum Ludwig.” Kölner Stadt-Anzeiger, 20 February 1981, p. unavailable.

Kudielka, Robert. “Documenta 4: A Critical Review.” Studio International 176, no. 903 (September 1968), pp. 76–78.

Kuh, Katherine. “Denials, Affirmations, and Art.” Saturday Review 52 (31 May 1969), pp. 41–42.

Kultermann, Udo. “Monochrome Malerei—Eine neue Konzeption.” In Monochrome Malerei, pp. [2–3]. Exh. cat. Städtisches Museum Leverkusen, Schloß Morsbroich, 1960.

Kuspit, Donald B. “A Phenomenological Approach to Artistic Intention.” Artforum 12, no. 5 (January 1974), pp. 46–53.

Kuspit, Donald. “A Phenomenological Approach to Artistic Intention.” In The Critic Is Artist: The Intentionality of Art, pp. 3–23. Contemporary American Art Critics, 2. Ann Arbor, Michigan: UMI Research Press, [1984].

K[uspit], D[onald B]. “Barnett Newman: Pace Gallery.” Artforum 27, no. 1 (September 1988), pp. 136–37.

Kuspit, Donald. “Embattled Lines” [letter to the editor]. Artforum 40, no. 10 (June 2002), p. 20. For rejoinder by Yve-Alain Bois, see ibid.

L. V. “Von künstlerischer Intelligenz bis zum ‘Großen Käse’: Ausstellungen in Basel: Newman im Kunstmuseum.” Neue Zürcher Zeitung, 4 June 1981, p. 39.

LaCoste, Michel Conil. “Barnett Newman au Grand Palais: La peinture en lisières.” Le Monde [Paris], 12 October 1972, p. 17.

Lanes, Jerrold. “Reflections on Post-Cubist Painting.” Arts Magazine 33, no. 8 (May 1959), pp. 24–29.

Lanes, Jerrold. “New York” [Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Artforum 7, no. 9 (May 1969), pp. 59–60.

Larson, Kay. “Love or Money.” New York Magazine, 23 June 1986, pp. 65–66.

Lascault, Gilert. “Les dessins de Barnett Newman.” La Quintaine littéraire, 1–15 December 1980, pp. 17–18.

Lebensztejn, Jean-Claude. “Homme nouveau, art radical” [review of O’Neill 1990]. In Critique: Revue Générale des Publications Françaises et Etrangères, no. 528 (May 1991), pp. 323–37.

Leider, Philip. “The New York School in Los Angeles.” Artforum 4, no. 1 (September 1965), pp. 3–13.

Leider, Philip. “São Paulo: Newman’s Work.” Frontier, November 1965, p. 23.

Leider, Philip. “The Artist Is Unexplained.” The New York Times, 6 April 1969, pp. 25, 32.

Leja, Michael. “The Formation of an Avant-Garde in New York.” In Abstract Expressionism: The Critical Developments, pp. 13–33. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987.

Leja, Michael. “Barnett Newman’s Solo Tango.” Critical Inquiry 21, no. 3 (Spring 1995), pp. 556–80.

Lewis, Adrian. “Barnett Newman, Abstract Expressionism and American Cultural Conventions.” In Representing and Imagining America, ed. Philip John Davies, pp. 160–69. Keele, U.K.: Keele University Press, 1996.

Lichtblau, Charlotte. “Willem de Kooning and Barnett Newman: The Paintings of Two Friends in Antithesis But Not in Conflict.” Arts Magazine 43, no. 5 (March 1969), pp. 28–33.

Liebling, A. J. “Two Aesthetes Offer Selves as Candidates to Provide Own Ticket for Intellectuals.” New York World-Telegram, 4 November 1933, p. unavailable.

Lippard, Lucy R. “The Third Stream: Constructed Paintings and Painted Structures.” Art Voices 4, no. 2 (Spring 1965), pp. 44–49.

Lippard, Lucy. “New York Letter.” Art International 10, no. 6 (Summer 1966), pp. 108–15.

Lippard, Lucy. “The Silent Art.” Art in America 55, no. 1 (January–February 1967), pp. 58–63.

Lippard, Lucy. “Escalation in Washington.” Art International 12, no. 1 (January 1968), pp. 42–46. Reprinted in Lucy Lippard, Changing: Essays in Art Criticism, pp. 237–54. New York: E. P. Dutton & Co., 1971.

Lippard, Lucy R. “Notes on Dada and Surrealism at the Modern.” Art International 12, no. 5 (15 May 1968), pp. 34–37, 39. For Newman’s comment, see O’Neill 1990, pp. 236–37.

Liss, Andrea. “A Painter as Printmaker.” Artweek 16, no. 5 (2 February 1985), p. 5.

Long, Jim. “In Search of Uriel: Barnett Newman.” The Brooklyn Rail, Early Summer 2002, pp. 17–18.

Louchheim [Saarinen], Aline B. “By Extreme Modernists” [Barnett Newman exhibition at the Betty Parsons Gallery]. The New York Times, 29 January 1950, sec. 2, p. 9.

Louchheim, Aline B. “Betty Parsons: Her Gallery, Her Influence.” Vogue, 1 October 1951, pp. 140–41, 194, 196–97.

Louw, Roelof. “Newman and the Issue of Subject Matter.” Studio International 187, no. 962 (January 1974), pp. 2.6–32.

Lubbock, Tom. “To Infinity and Below.” The Independent, 1 October 2002, p. unavailable.

Lyotard, Jean-François. “L’instant, Newman.” In L’art et le temps: Regards sur la quatrième dimension, ed. Michel Baudson, pp. 98–105. Brussels: Société des Expositions du Palais des Beaux-Arts, 1984. English translation published as “Newman: The Instant” in The Lyotard Reader, ed. Andrew Benjamin, pp. 240–49. Oxford and Cambridge, Massachusetts: Basil Blackwell, 1989. German translation published as “Der Augenblick: Newman” in Jean-François Lyotard, Das Inhumane: Plaudereien über die Zeit, pp. 141–57. Vienna: Edition Passagen, 1989.

Lyotard, Jean-François. “The Sublime and the Avant-Garde.” Artforum 22, no. 8 (April 1984), pp. 36–43.

Mansuy, Jessy, and Richard Leydier. “Barnett Newman.” Art Press [Paris], November 2002, pp. 12–14.

Marandel, Jean-Patrice. “Une chapelle oecuménique au Texas.” L’Oeil, no. 197 (May 1971), pp. 16–19.

Mathews, Thomas F. “The Problem of Religious Content in Contemporary Art.” In Revolution, Place, and Symbol: Journal of the First Congress on Religion, Architecture, and the Visual Arts, papers of a congress in New York and Montreal, 26 August–4 September 1967, pp. 117–29. Published 1969.

Matthes, Hendrick. “Metaphysics of the Colour Field: The Conceptuality of Barnett Newman’s Art.” Kunst & Museumjournaal [The Netherlands] 3, no. 6 (1992), pp. 36–48.

Maxwell, Elsa. “Betty Parson’s Christmas Show.” New York Post, 20 December 1946, p. 12.

Mays, John Bentley. “Art World in Need of Healers: Vague Uplifters Need Not Apply.” The Globe and Mail [Toronto], 8 June 1961, p. C5.

McEwen, John. “Zippity Do Dah Zippity Day.” Telegraph, 22 September 2002, p. 7.

McKay, Arthur. “Emma Lake Artists’ Workshop: An Appreciation.” Canadian Art 21, no. 5, issue 93 (September–October 1964), pp. 280–81.

McLean, John. “Of Limited Means” [review of Barnett Newman exhibition at the Tate Gallery]. The Guardian, 28 June 1972, p. 12.

McNay, Michael. “Lak [sic] of Public Support for Barnett Newman’s Tate Retrospective Exhibition.” The Guardian, 11 July 1972, p. 10.

McNickle, Mollie. “The American Response to Surrealism: Barnett Newman.” In The Interpretive Link: Abstract Surrealism into Abstract Expressionism: Works on Paper, 1938–1948, pp. 51–56. Exh. cat. Newport Harbor Art Museum, Newport Beach, California, 1986.

Meadmore, Clement. “New York Scene II—Colour as an Idiom.” Art in Australia 3, no. 4 (March 1966), pp. 288–91.

Mechelen, Marga van. Review of Barnett Newman monograph by Renée van de Vail. Jong Holland 10, no. 2 (1994), pp. 64–67.

Meinhardt, Johannes. “Das Gemälde und das Gefühl eines Ortes: Die große Werkschau des US-Künstlers Barnett Newman in der Kunstsammlung Nordrhein-Westfalen.” Stuttgarter Nachrichten, 6 August 1997, p. unavailable.

Melville, Robert. “Birth of the Stripe.” The New Statesman [London], 14 July 1972, pp. 66–67.

Merckx, A. “From Barnett Newman to the New Forms of Realism” [original title in Dutch]. De Vlaamse Gids, May 1972, pp. unavailable.

M[essinger], L[isa] M. “Barnett Newman: Shimmer Bright.” The Metropolitan Museum of Art Bulletin 49, no. 2 (Fall 1991), pp. 70–71.

Metken, Günter. “Erleuchtete Leinwand: Das Werk Barnett Newmans: Europäische Wanderausstellung.” Stuttgarter Zeitung, 19 May 1972, p. unavailable.

Metken, G[ünter]. “Ausstellungen: Barnett Newman, Stedelijk Museum, Amsterdam.” Das Kunstwerk 25, no. 4 (July 1972), p. 38.

“Metropolitan Hit by 7 Modernists.” The New York Times, 30 June 1952, p. 21.

Meyer, Franz. “Zur Gültigkeit des Christusbildes in der ungegenständlichen Kunst: Die Kreuzwegstationen Barnett Newmans.” Kirche und Kunst, no. 2, June 1982, pp. 60–66.

Meyer, Franz. “Giacometti et Newman.” In Alberto Giacometti: Sculptures, peintures, dessins, pp. 59–65. Exh. cat. Musée d’Art Moderne de la Ville de Paris, 1991.

Millet, Catherine. “Barnett Newman: Nous soulevons le problème du sujet.” Art Press [Paris], no. 1 (December 1972–January 1973), pp. 8–11, cover.

Millet, Catherine. “De Kooning, Newman, Rothko: Des bâtards.” Art Press International [Paris], n.s. 26 (March 1979), p. 24.

Millet, Catherine. “Ingres, Newman, le dessin a fait le vide.” Art Press [Paris], special edition, no. 15 (1994), pp. 29–32.

Moulin, Raoul-Jean. “Barnett Newman: Une oeuvre à découvrir.” Les Lettres Françaises, 8 August 1970, p. unavailable.

Mulas, Ugo. “Testimonianze di Ugo Mulas/Bezeugungen von Ugo Mulas.” Europa: Arte Informazione [Bolzano], November 1974, pp. 8–9.

Mulas, Ugo [photographs], and Alan Solomon [text]. “Newman.” In New York: The New Art Scene, pp. 80–97. New York: Holt, Rinehart, Winston, 1967.

Murray, Robert. “The Sculpture of Barnett Newman.” In Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 165–71. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Nabakowski, Gislind. “Wer hat Angst vor Rot, Gelb und Blau?” Kunstnachrichten 9, no. 10 (June 1973), pp. 5–9.

Nakov, Andréi B. “Barnett Newman: La résurrection de l’esthétique du sublime.” XXe Siècle, n.s. 38 (June 1972), pp. 156–59, 166–68.

Neff, John Hallmark. “A Barnett Newman for Detroit.” Bulletin of the Detroit Institute of Arts 56, no. 3 (1978), pp. 159–67, cover.

Neher, Ross. “Mentalism Versus Painting.” Artforum 17, no. 6 (February 1979), pp. 40–47.

Nemerov, Howard. “On Certain Wits Who Amused Themselves over the Simplicity of Barnett Newman Paintings Shown at Bennington College in May of 1958” [a poem]. The Nation, 6 September 1958, p. 119. Reprinted 1959 in the catalogue of the Barnett Newman exhibition at French and Company, Inc.; also in Art in America 53 (October–November 1965), p. 33.

“Newman Leads a Cool Contingent to the São Paulo Bienal.” Artnews 64, no. 5 (September 1965), p. 42.

Nickas, Robert. “The Sublime Was Then (Search for Tomorrow).” Arts Magazine 60, no. 7 (March 1986), pp. 14–17.

“Notizbuch der Redaktion: Auf das Gemälde von Barnett Newman (eingeschlagen).” Das Kunstwerk 35, no. 3 (June 1982), p. 90.

Nowald, Karlheinz. “Wahrnehmungsprozesse: Barnett Newman und Joseph Beuys.” Neue Zürcher Zeitung, 21 June 1991, p. unavailable.

O’Brian, John. “Who’s Afraid of Barnett Newman?” In Voices of Fire: Art, Rage, Power, and the State, ed. Bruce Barber, Serge Guilbaut, and John O’Brian, pp. 121–36. Toronto, Buffalo, and London: University of Toronto Press, [1996].

Offin, Charles Z. “Barnett Newman’s Legacy.” Pictures on Exhibit, October 1971, pp. 8–9.

O’Hara, Frank. “Art Chronicle.” Kulchur 3, no. 9 (Spring 1963), pp. 55–63.

Ortmayer, Roger. “Die Rothko-Newman-Kapelle in Houston.” Kunst und Kirche [Linz, Austria], no. 2, 1982, pp. 188–89.

Overy, Paul. “Arts in Society: Inhuman Scale.” New Society, 20 July 1972, p. unavailable.

Packer, William. “Confronted by Simple Doubts.” The Financial Times, 29 October 2002, p. 17.

Pacquement, A[lfred]. “Barnett Newman: Qui a peur du rouge, du jaune et du bleu?” Le Petit Journal des Grandes Expositions, 11 October–11 December 1972, unpaginated [special issue].

“Painting of a Different Stripe” [Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. Time, 29 April 1966, p. 82.

Palette, Jim. “Mister ‘Zip’: Une exposition de ses dessins à Beaubourg.” Libération, 25 November 1980, p. 1.

Pallène, Claude. “Peinture—expositions: Barnett Newman.” Corse-Méditerranée Médicale [Asnières] 92, no. 1 (November 1972), p. unavailable.

Payot, Daniel. “Tout uniment: Barnett Newman.” Paper presented at a symposium in Strasbourg, 18 and 19 May 1990. In L’art moderne et la question du sacré, ed. Jean-Jacques Nillès, pp. 163–89. Paris: Éditions du Cerf, 1993.

“People Are Talking About . . . : Barnett Newman.” Vogue, 15 April 1966, pp. 110–11.

Peppiatt, Michael. “Paris, Mid-November”. Art International 17, no. 1 (January 1973), pp. 37–41.

Perl, Jed. “New Man, New City” [review of O’Neill 1990]. The New Republic, 4 March 1991, pp. 34–38.

Perreault, John. “Back Indoors.” The Village Voice, 3 April 1969, p. 17.

Perreault, John. “The Earth and the Sky and the Heavens Are Joined.” The Village Voice, 28 October 1971, pp. 33–34.

Perreault, John. “The Barney Newman Story.” NYArts, May 2002, pp. 22–23.

Pickshaus, Peter Moritz. “III. Die ehrliche Haut: Barnett Newmans ‘Who’s Afraid of Red, Yellow and Blue IV,’ Berlin, 13.4.1982.” In Kunstzerstörer: Fallstudien: Tatmotive und Psychogramme, pp. 651–23. Kulturen und Ideen. Reinbek bei Hamburg: Rowohlt, [1988].

Pickstone, Charles. “Though It Be Night: Barnett Newman at the Tate.” Art and Christianity Enquiry Bulletin, no. 32 (October 2002), pp. 1–4.

“Picture of a Painter.” Newsweek, 16 March 1959, p. 58.

Plagens, Peter. “Zip: Another Magazine Article on Barnett Newman.” Art in America 59, no. 6 (November–December 1971), pp. 62–67.

Pluchard, F. “La déviation de Barnett Newman.” Combat, 30 October 1972, p. unavailable.

Polcari, Stephen. “Newman: Quality in Art.” New York Nightsounds 1 (October 1969), p. 8.

Polcari, Stephen. “Barnett Newman: New Beginnings.” In Abstract Expressionism and the Modern Experience, pp. 187–211. Cambridge and New York: Cambridge University Press, [1991].

Polcari, Stephen. “Barnett Newman’s Broken Obelisk.” Art Journal 53, no. 4 (Winter 1994), pp. 48–55.

Pomeroy, Ralph. “New York: Flash! Sculpture Still Leads.” Art and Artists [London] 2, no. 8 (November 1967), pp. 30–33.

Pomeroy, Ralph. “Barnett Newman: Painting Seen in Its Idea.” Art and Artists [London] 4, no. 4 (July 1969), pp. 50–52.

Poschardt, Ulf. “Das Erhabene ist jetzt.” Kunstforum International, no. 150 (April–June 2000), pp. 290–97.

Potter, Jessica. “University Gallery: Fred Sandback, Barnett Newman.” Art New England, February 1984, p. unavailable.

Pouliot, Alma. “Cultural Exchange Feature of Art School’s Unique Workshop.” Prince Albert Herald (?) [Saskatchewan], August 1959 (exact date unavailable). Clipping on deposit at the Barnett Newman Foundation.

Prak, Niels Luning. “Persistent Schemes: The Quest for a Neutral Form.” Art International 14, no. 7 (September 1970), pp. 74–78.

Preston, Stuart. “Chiefly Modern.” The New York Times, 4 June 1950, p. 6X.

Preston, Stuart. “Diverse New Shows.” The New York Times, 29 April 1951, sec. 2, p. 6.

Preston, Stuart. “Current and Forthcoming Exhibitions: New York.” The Burlington Magazine 101, no. 674 (May 1959), p. 200.

Preston, Stuart. “Drawings and Paintings” [concerning simultaneous solo exhibitions by Barnett Newman and Willem de Kooning at the Allan Stone Gallery]. The New York Times, 28 October 1962, p. 15.

Rainer, Wolfgang. “Selbstherrliche Farbe: Das Werk Barnett Newmans in Düsseldorf.” Stuttgarter Zeitung, 10 July 1997, p. 23.

Ramade, Bénédicte. “Les profondeurs de Barnett Newman.” L’Oeil, October 2002, p. 117.

Ratcliff, Carter. “New York Letter.” Art International 14, no. 10 (December 1970), pp. 64–70.

Ratcliff, Carter. “New York Letter.” Art International 15, no. 10 (20 December 1971), pp. 52–61.

Ratcliff, Carter. “Barnett Newman: Citizen of the Infinitely Large Small Republic.” Art in America 79, no. 9 (September 1991), pp. 92–97, 146–47. For a discussion, see Art in America 79, no. 11 (November 1991), p. 37.

Ratcliff, Carter. “Newman’s Perennial Now.” Art in America 90, no. 9 (September 2002), pp. 96–103, 147.

R[eed], J[udith] K[aye]. “Newman’s Flat Areas.” Art Digest 24, no. 9 (1 February 1950), p. 16.

Reinke, Klaus U. “Die Kunst als Lebensmittel: Barnett Newman: Das druckgraphische Werk im Museum Mönchengladbach.” Handelsblatt, 1–2 August 1986, p. S5.

Reise, Barbara M. “Greenberg and The Group: A Retrospective View, Parts 1 and 2. ” Studio International 175, no. 900 (May 1968), pp. 254–57; 175, no. 901 (June 1968), pp. 314–16. For correction, see letter to the editor by Barbara Reise, Studio International 176, no. 904 (October 1968), p. 127.

Reise, Barbara M. “The Stance of Barnett Newman.” Studio International 179, no. 919 (February 1970), pp. 49–63. For correction, see Studio International 179, no. 920 (March 1970), p. 90.

Reithmann, Max. “Newman et Mondrian.” Artistes [Paris], special issue no. 1 (June 1984), pp. 50–67.

Restany, Pierre. “Barnett Newman: A Value of Civilisation/Une valeur de civilisation.” Domus [Milan], no. 519 (February 1973), pp. 47–48.

Richard, Paul. “Sketchy Barnett Newman: A Pioneer Painter’s Curious Caution.” The Washington Post, 20 May 1979, pp. N1, N12.

Richthofen, Alice von. “Bewegende Geometrie.” Düsseldorfer Hefte, June 1997, p. 16.

Riese, Hans-Peter. “Die Wände sind die Bilder.” Frankfurter Allgemeine Zeitung, 16 May 2002, p. 45.

Riley, Charles A., II. “Barnett Newman: Color and the Sublime.” In Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology, pp. 174–80. Hanover, New Hampshire, and London: University Press of New England, 1995.

Riley, Charles A., II. “Pilgrimage to the Sublime: Barnett Newman.” In The Saints of Modern Art: The Ascetic Ideal in Contemporary Painting, Sculpture, Architecture, Music, Dance, Literature, and Philosophy, pp. 53–60. Hanover, New Hampshire, and London: University Press of New England, 1998.

[Riley, Maude Kemper]. “Coming to Terms with Modern Painting.” MKR’s Art Outlook 1, no. 29 (27 January 1947), pp. 2–3.

Ripley, Deborah. “Prints and Multiples.” Artscribe [London], no. 83 (September–October 1990), pp. 19–20.

Roberts, Keith. Review of Barnett Newman exhibition at the Tate Gallery. The Burlington Magazine 114, no. 833 (August 1972), p. 571.

Robertson, Bryan. “New York, Reviews and Previews: Mondrian and Newman.” Art in America 60, no. 1 (January–February 1972), pp. 29, 31.

Robinson, Jenefer M. “Style and Significance in Art History and Art Criticism: Style as a Function of Significance.” The Journal of Aesthetics and Art Criticism 40, no. 1 (Fall 1981), pp. 7–10.

Rose, Barbara. “New York Letter” [concerning group exhibition at the Sidney Janis Gallery]. Art International 8, no. 1 (15 February 1964), pp. 40–41.

Rose, Barbara. “The Primacy of Color.” Art International 8, no. 4 (May 1964), pp. 22–26.

Rose, Barbara. “Blowup—The Problem of Scale in Sculpture.” Art in America 56, no. 4 (July–August 1968), pp. 80–91.

Rose, Barbara. “Culture Collision.” Vogue, 1 October 1970, p. 98.

Rose, Barbara. “The Passing and Resurgence of Barney Newman.” New York Magazine, 8 November 1971, pp. 80–84.

Rose, Barbara. “Mondrian in New York.” Artforum 10, no. 4 (December 1971), pp. 54–63.

Rose, Barbara. “Johns and Newman: An Encounter in Art.” In Barnett Newman, The Complete Editions/Jasper Johns, References to Barnett Newman, pp. 2–6. Exh. cat. Brooke Alexander, New York, 1999.

Rosenberg, Harold. “Barnett Newman: A Man of Controversy and Spiritual Grandeur.” Vogue, 15 February 1963, pp. 134–35, 163, 166. Reprinted, as “Barnett Newman: The Living Rectangle,” in Harold Rosenberg, The Anxious Object: Art Today and Its Audience, pp. 169–74. New York: Horizon Press, 1964.

Rosenberg, Harold. “Icon Maker.” The New Yorker, 19 April 1969, pp. 136–42. Reprinted, as “Icon Maker, Barnett Newman,” in Harold Rosenberg, The Dedefinition of Art, pp. 91–99. New York: Horizon Press, 1972.

Rosenberg, Harold. “Meaning in Abstract Art (Continued).” The New Yorker, 1 January 1972, pp. 43–46. Reprinted, with illustrations, as “Barnett Newman and Meaning in Abstract Art,” in Art International 16, no. 3 (March 1972), pp. 64–65, 72. Reprinted, with illustrations, as “Newman: Meaning in Abstract Art II,” in Harold Rosenberg, Art on the Edge: Creators and Situations, pp. 50–59. New York: Macmillan, 1975. Reprinted in Abstract Expressionism: A Critical Record, ed. David and Cecile Shapiro, pp. 344–50. Cambridge and New York: Cambridge University Press, 1990.

Rosenberg, Harold. “La sculpture de Barnett Newman.” Art Press [Paris], no. 35 (March 1980), p. 12.

Rosenblum, Robert. “Unité et divergences de la peinture américaine: La peinture américaine depuis la seconde guerre mondiale.” Aujourd’hui: Art et Architecture 3, no. 18 (July 1958), pp. 12–18.

Rosenblum, Robert. “The Abstract Sublime.” Artnews 59, no. 10 (February 1961), pp. 38–41, 56–58. Reprinted in Henry Geldzahler, New York Painting and Sculpture, 1940–1970, pp. 350–59. Exh. cat. The Metropolitan Museum of Art, New York, 1969. For a discussion, replies, and rejoinders concerning the title of Vir Heroicus Sublimis misprinted in a caption of Rosenblum’s essay, see Artnews 60, no. 2 (April 1961), p. 6; no. 3 (May 1961), p. 6; no. 7 (September 1961), p. 6.

Rosenthal, Mark. Catalogue entry “Barnett Newman.” In The Robert and Jane Meyerhoff Collection 1945–1995, pp. 142–51. Exh. cat. National Gallery of Art, Washington, D.C., 1996.

Rothärmel, Marion. “Ein Amerikaner in Köln: Museum Ludwig stellt Barnett Newman in Deutschland vor.” Kölniscbe Rundschau, 20 February 1981, p. unavailable.

Rouan, F. “At the Base of the Turbulence: On Western European Painting and Barnett Newman.” Critique [Paris] 37, no. 408 (1981), pp. 539–43.

Rubinstein, Meyer Raphael. Review of O’Neill 1990. Arts Magazine 66, no. 1 (September 1991), pp, 95–96.

Ruhrberg, Karl. “Gegenbilder: Grenzüber-schreitungen bei Barnett Newman und Mark Rothko.” Kunst und Kirche [Linz, Austria], no. 3, 1983, pp. 156–58.

Ruhrberg, Karl. “‘Ich arbeite mit dem gesamten Raum’—Anmerkungen zu Barnett Newman.” In Raum, Zeit, Stille, pp. 51–65. Exh. cat. Kölnischer Kunstverein, Cologne, 1985. Originally published, with fewer illustrations, in Hommage à Cladders, 14. September 1984, pp. 81–92. Mönchengladbach: Museumsverein, [1984].

Ruhrberg, Karl. “Vom Schweigen der Bilder: Anmerkungen zum malerischen Werk Barnett Newmans.” Kölner Museums-Bulletin, no. 2/1991, pp. 4–17.

Ruhrberg, Karl. “Dem Grenzenlosen gegenüber.” In Barnett Newman, pp. 3–11. Künstler: Kritisches Lexikon der Gegenwartskunst, 19. Munich: WB Verlag, [1992].

Rushing, W. Jackson. “Ritual and Myth: Native American Culture and Abstract Expressionism.” In The Spiritual in Art: Abstract Painting 1890–1985, pp. 273–95. Exh. cat. Los Angeles County Museum of Art, 1986.

Rushing, W. Jackson. “The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman’s Idea of Redemption in the Abstract Sublime.” Art Journal 47, no. 3 (Fall 1988), pp. 187–95. See also “Letters: An Exchange: Annalee Newman and W. Jackson Rushing,” Art Journal 48, no. 3 (Fall 1989), pp. 268–71.

Rushing, W. Jackson. “Decade of Decision.” Art Journal 54 (Spring 1995), pp. 88–91.

Russell, John. “Oneness is All.” The Sunday Times [London], 2 July 1972, p. 38.

Russell, John. “The Action Critic” [review of 1978 Barnett Newman monograph by Harold Rosenberg]. The New York Times, 22 April 1979, sec. 7, pp. 3, 28.

Russell, John. “Newman’s Mastery of the Pen and Crayon.” The New York Times, 27 May 1979, pp. D25, D37.

Russell, John. “‘Heroic Sublime,’ or the Use of the Stripe.” The New York Times, 13 June 1986, p. C32.

Sandler, Irving. “In the Art Galleries” [concerning simultaneous solo exhibitions by Barnett Newman and Willem de Kooning at the Allan Stone Gallery]. New York Post, 4 November 1962, magazine, p. 12.

Sandler, Irving. “Barnett Newman (1905–1970).” In The Triumph of American Painting: A History of Abstract Expressionism, pp. 185–92. New York and Washington, D.C.: Praeger Publishers, 1970.

Sandler, Irving. “Newman, Rothko, Still: Search for the Sublime.” In Newman, Rothko, Still: Search for the Sublime, pp. [2–12]. Exh. cat. C & M Arts, New York, 1994.

“São Paulo Jury Splits Art Prize.” The New York Times, 5 September 1965, p. 33.

Sawin, Martica. “New York Letter” [review of Barnett Newman exhibition at French and Company, Inc.]. Art International 3, nos. 5–6 (May–June 1959), pp. 48–50.

Sawtell, Jeff. “The Modernist Master of the Meaningless.” Morning Star, 19 November 2002, p. unavailable.

Saxon, Erik. “Steel Cosmogony.” Art in America 80, no. 7 (July 1992), pp. 98–99, 101.

Schade, Sigrid. “Inszenierte Präsenz: Der Riß im Zeitkontinuum (Monet, Cézanne, Newman).” In Zeit-Zeichen: Aufschübe und Interferenzen zwischen Endzeit und Echtzeit, ed. Georg Christoph Tholen, pp. 211–29. Weinheim: VCH, 1990.

Schenk, R. “Een woord bij het beeld: De funktie van de titel in het werk van Barnett Newman.” Metropolis 11 (1983), pp. 5–9.

Schjeldahl, Peter. “New York Letter” [review of Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Art International 13, no. 6 (Summer 1969), pp. 64–69.

Schjeldahl, Peter. “After Nothing Less Than Emotional Profundity.” The New York Times, 8 February 1970, p. D23.

Schjeldahl, Peter. “Barnett Newman: ‘Aspiration Toward the Sublime.’” The New York Times, 6 September 1970, sec. 2, p. 21.

Schjeldahl, Peter. “Anxieties of Eminence” [includes review of Barnett Newman monograph by Brenda Richardson]. Art in America 68, no. 7 (September 1980), pp. 106–15.

Schjeldahl, Peter. “Lord Barney: Barnett Newman’s Majestic Abstractions.” The New Yorker, 15 April 2002, pp. 82–84.

Schmied, Wieland. “Zur Frage einer genuin jüdischen Kunst im 20. Jahrhundert: Von Marc Chagall bis Barnett Newman.” Kunst und Kirche [Germany], no. 4, 1996, pp. 231–36.

Schmitz, Rudolf. “The White Whale, the Vir Heroicus Sublimis, and the Electric Cowboy/ Der weisse Wal, der Vir Heroicus Sublimis und der elektrische Cowboy.” Daidalos, no. 61 (September 1996), pp. 68–73.

Schnabel, Julian. “November 21, 1985.” In CVJ: Nicknames of Maitre d’s & Other Excerpts from Life, pp. 39–41. New York: Random House, [1987].

Schoenfeld, Ann. “Barnett Newman ’27: The Sensibility of the Modern Artist.” Alumnus: The City College of New York, Spring 1994, pp. 8–9.

Schor, Gabriele. “Freie Farbe, lebendige Form.” Berner Kunstmitteilungen, no. 307 (November–December 1996), pp. 3–5.

Schor, Gabriele. “Schreibend sich selbst erschaffen” [review of German translation of O’Neill 1990]. Neue Zürcher Zeitung, 26–27 April 1997, p. 54.

Schor, Gabriele. “Who’s Afraid of Red, Yellow and Blue: Barnett Newman in der Kunstsammlung Nordrhein-Westfalen. ” Neue Zürcher Zeitung [international edition], 4 June 1997, p. 33.

Schor, Gabriele. “Im Zeichen der Unendlichkeit: Eine grundlegende Monographie über Barnett Newman.” Neue Zürcher Zeitung [international edition], 7–8 March 1998, pp. 51–52.

Schor, Ramin. “Abkürzung auf dem Weg zum Unerreichbaren: Barnett Newman und das ‘schwierigste Werk des 20. Jahrhunderts’ in London.” Neue Zürcher Zeitung, 19–20 October 2002, p. 49.

Schulz, Bernhard. “Das tragische Leben.” Der Tagesspiegel [Berlin], 9 November 1997, p. 25.

Schürenberg, Barbara. “Bilder mit Reißverschluss: Die grofße amerikanische Abstraktion: Barnett-Newman-Retrospektive in Londons Tate Modern.” Die Welt, 17 October 2002, p. 28.

Schurr, Gérald. “Art Dispatch from Europe: Paris, A Retrospective Exhibition of Barnett Newman.” Connoisseur 181, no. 730 (December 1972), p. 295.

Schwartz, Marvin D. “News and Views from New York: Newman at French and Co.” Apollo 69, no. 410 (April 1959), p. 124.

“Sculpture Festival” [concerning Broken Obelisk in Seagram Building plaza]. New York Post, 27 September 1967, p. 5.

“Sculpture: Master of the Monumentalists” [concerning group exhibition at the Corcoran Gallery of Art]. Time, 13 October 1967, pp. 80–86.

Searle, Adrian. “Read Between the Lines.” Guardian, 17 September 2002, pp. 7–8.

“Seattle World’s Fair: Art Since 1960: American.” Artforum 1, no. 4 (September 1962), pp. 30–36.

Sebastian, Klaus. “Barnett-Newman-Symposium in der Kunstsammlung Nordrhein-Westfalen: Reißverschlutß der Deutungen?” Rheinische Post [Düsseldorf], 1 July 1997, p. 17.

Seckler, Dorothy Gees. “Frontiers of Space.” Art in America 50, no. 2 (Summer 1962), pp. 82–87.

Severi, Carlo. “Un primitivisme sans emprunts: Boas, Newman et l’anthropologie de l’art.” Les Cahiers du Musée National d’Art Moderne, no. 28 (Summer 1989), pp. 55–60.

Sewell, Brian. “The Truth About This Emperor’s Old Clothes.” Evening Standard, 4 October 2002, p. 40.

Shepherd, Michael. “Secret of the Stripe.” The Sunday Telegraph, 2 July 1972, p. 17.

Shiff, Richard. “Whiteout: The Not-Influence Newman Effect.” In Barnett Newman, pp. 76–111. Exh. cat. Philadelphia Museum of Art, 2002.

Shirey, David L. “Barney” [review of Barnett Newman exhibition at M. Knoedler & Co., Inc.]. Newsweek, 14 April 1969, pp. 93–94.

Siegel, Jeanne. “Around Barnett Newman.” Artnews 70, no. 6 (October 1971), pp. 42–47, 59–62, 65–66. Reprinted, with fewer illustrations, in Jeanne Siegel, Artwords: Discourse on the 60s and 70s, pp. 42–62. Studies in the Fine Arts: The Avant-Garde, 47. Ann Arbor, Michigan: UMI Research Press, 1985.

Simmen, Jeannot. “Die Angst vor Rot Gelb Blau.” Du, no. 6/1982, p. 84. Reprinted, as “Berlin: Ein teuer erworbenes Bild misshandelt,” in Tagesanzeiger [Zürich], 20 April 1982, p. unavailable.

Sirkis, Nurit [Nora]. “The Tallith and the Cross: Conflict and Reconciliation in Barnett Newman’s ‘14 Stations of the Cross, Lema Sabachthani.”’ In Proceedings of the Tenth World Congress of Jewish Studies, pp. 85–92. Jerusalem: World Union of Jewish Studies, 1990.

Smedley, Bunny. “Art: Fumbling with His Zip.” ERO: Politics, Art & Literature, 19 September 2002. http://www.electricreview.com.

Smith, Roberta. “Newman’s Early Steps on the Path to Maturity.” The New York Times, 4 November 1994, p. C26.

Solomon, Alan. “The New New York Art Scene: Who Makes It?” Vogue, 1 August 1967, pp. 102–7, 135–37, 140.

Solomon, Deborah. “Barnett Newman’s Big Ideas” [review of O’Neill 1990]. The New Criterion 9, no. 7 (March 1991), pp. 17–21.

Sommer, Tim. “Auf der Suche nach dem Absoluten.” Art: Das Kunstmagazin, November 2002, pp. 32–39.

Sondag, Gérard. “Le rôle de la couleur dans la peinture de Barnett Newman.” In Recueil: La couleur, pp. 245–52. Brussels: Editions Ousia, 1993.

Sozanski, Edward J. “The Eloquence of Restraint.” The Philadelphia Inquirer, 24 March 2002, pp. H1, H10.

“Space Impelled.” Time, 20 February 1950, p. 60.

Spagnesi, Licia. “Astratto: E il sublime secondo Newman.” Arte [Italy], no. 349, September 2002, pp. 40–41.

Sparks, Esther. “Barnett Newman.” In Universal Limited Art Editions: A History and Catalogue: The First Twenty-Five Years, pp. 194–211, 418–29. New York: The Art Institute of Chicago and Harry N. Abrams, Inc., 1989.

Spies, Werner. “Auf dem Weg zur Offenbarung: Abstraktion und ‘religiöse’ Botschaft: Die Bilder Barnett Newmans in Amsterdam.” Frankfurter Allgemeine Zeitung, 17 May 1972, p. 11.

Stahly, F. “Pariser Kunstchronik.” Werk-Chronik 46, no. 3 (March 1959), pp. 63*–64*.

Stauch-v. Quitzow, Wolfgang. “Ein Künstler der Verweigerung: Barnett Newmans zeichnerisches Werk in Köln.” Aachener Volkszeitung, 7 March 1981, p. unavailable.

Stemmrich, Gregor. “Christliche Tradition und avantgardistische Kunst.” In GegenwartEwigkeit: Spuren des Transzendenten in der Kunst unserer Zeit, pp. 89–96. Exh. cat. Martin-Gropius-Bau, Berlin, 1990.

Stephan, Gary. “Escher or Newman: Who Puts the Ghost in the Machine?” Artforum 21, no. 6 (February 1983), pp. 64–67.

Stevens, Elisabeth. “Abstract Expressionist: Newman’s Drawings Record His Explorations of Subject Matter.” The Sun [Baltimore], 8 June 1979, p. B7.

Stone, Peter. “Art: Modern Master.” Jewish Chronicle [London], 7 July 1972, p. unavailable.

Storm-Rusche, Angelika. “Stahl wie Samt—Leinwand wie Seide: Der Amerikaner Barnett Newman in der Kunstsammlung Nordrhein-Westfalen Düsseldorf.” Berliner Zeitung, 23 May 1997, p. 19.

Stoullig, Claire. “Expositions: Barnett Newman.” Peinture: Cahiers Théoriques [Paris], nos. 6/7 (April 1973), pp. 127–39.

Strasser, Catherine. “Dessins de Barnett Newman: Centre Georges Pompidou.” Flash Art, no. 101 (January–February 1981), pp. 62, 64.

Sylvester, David. “The Ugly Duckling” and “Interview” [with Barnett Newman]. In Abstract Expressionism: The Critical Developments, pp. 137–45. Exh. cat. Albright-Knox Art Gallery, Buffalo, N.Y., 1987. Revised version published in David Sylvester, About Modern Art: Critical Essays 1948–1997, pp. 321–31. New York: Henry Holt and Company, 1997.

Sylvester, David. “Barnett Newman: Untitled, 1961.” Artforum 32, no. 3 (November 1994), pp. 62–63. Reprinted in David Sylvester, About Modern Art: Critical Essays 1948–1997, pp. 396–98. New York: Henry Holt and Company, 1997.

Taaffe, Philip. “Sublimity, Now and Forever, Amen.” Arts Magazine 60, no. 7 (March 1986), pp. 18–19.

Takashina, Shuji. “Barnett Newman” [in Japanese]. Asahi Graph: The Asahi Picture News 6, no. 26 (1964), pp. 32–33.

Tallman, Susan. “Tempest over Slashed Newman.” Art in America 80, no. 2 (February 1992), p. 27.

Temkin, Ann. “A Giant Zip for Mankind.” Artnews 101, no. 3 (March 2002), pp. 82, 84.

Temkin, Ann. “Barnett Newman on Exhibition.” In Barnett Newman, pp. 18–75. Exh. cat. Philadelphia Museum of Art, 2002.

“Ten Americans to Watch in 1959: Art.” Pageant 14, no. 8 (February 1959), p. 14. David Smith nominated Barnett Newman.

Terrell, Richard. “Art and Theology at the National Gallery.” Christianity Today 23 (February 1979), pp. 28–29.

Thaw, Eugene Victor. “The Abstract Expressionists.” The Metropolitan Museum of Art Bulletin 44, no. 3 (Winter 1986–87), pp. 3–56.

“The Metropolitan and Modern Art.” Life, 15 January 1951, pp. 34–38.

Thomas, Johannes. “Vorläufige Bilanz” and “Lyotard: Von materialistischen Ansätzen und wirren Wegen.” Jahresring [Germany], no. 44 (1997), pp. 54–60, 125–38.

Tillim, Sidney. “What Happened to Geometry?” Arts Magazine 33 (June 1959), pp. 38–44.

Tillim, Sidney. “Month in Review” [concerning simultaneous solo exhibitions by Barnett Newman and Willem de Kooning at the Allan Stone Gallery]. Arts Magazine 37, no. 3 (December 1962), pp. 38–40.

Trainor, James. “Who’s Afraid of Barnett Newman?” Border Crossings [Canada] 21, no. 3, issue 83 (2002), pp. 34–40.

Tully, Judd. “Barnett Newman: A Radical Classic.” Art and Auction 24, no. 5 (May 2002), p. 116.

Tuma, Kathryn A. Entries 80, 81, and 83. In Century of Drawing, pp. 180–83, 186–87. Exh. cat. National Gallery of Art, Washington, D.C., 2001.

Türr, Karina. “Grenzen der Malerei.” Weltkunst 57, no. 11 (1 June 1987), pp. 1529–35.

“Unanswerable Question” [Barnett Newman exhibition at the Solomon R. Guggenheim Museum]. Newsweek, 9 May 1966, p. 100.

“U.S. Art Exhibit Arrives in Brazil.” The New York Times, 30 August 1965, p. 23.

Vaizey, Marina. “Tate: Barnett Newman.” The Financial Times, 18 July 1972, p. unavailable.

Vaizey, Maria [s/c]. “Barnett Newman” [exhibition at the Tate Gallery]. Connoisseur 181, no. 727 (September 1972), pp. 74–75.

van de Vail, Renée. “Wat kan men zeggen dat niet gegeven is? Over het werk von Barnett Newman.” Krisis 46 (March 1992), p. unavailable.

van den Berghe, Roland. “Piet Mondrian und Barnett Newman.” In Die Wirklichkeit des Geistigen in der abstrakten Kunst, ed. Jelle van der Meulen, pp. 59–75. Stuttgart: Verlag Freies Geistesleben, 1988.

“Vandals on 57th Street.” Art Digest 26, no. 7 (1 January 1952), p. 5.

Vanel, Hervé. Review of Barnett Newman monograph by Armin Zweite. Cahiers du Musée National d’Art Moderne, no. 75 (Spring 2001), pp. 120–22.

Vaupel, Michael. “Das Erhabene hier und jetzt: Düsseldorf zeigt B. Newman.” Westdeutsche Allgemeine Zeitung [Essen], 12 June 1997, p. 9.

Veelen, Ijsbrand van. “Who’s Afraid of Restoration?” Flash Art 25, no. 163 (March–April 1992), pp. 129, 152.

Viatte, Germain. “Barnett Newman: L’illumination de Shining Forth.” Cahiers du Musée National d’Art Moderne, no. 1 (July–September 1979), pp. 108–22.

Vignold, Michael. “Barnett Newman.” In Die Maler und ihre Skulpturen: Von Edgar Degas bis Gerhard Richter, pp. 236–38. Exh. cat. Museum Folkwang Essen, Germany, 1997.

Vogels, Hans. “Overzicht van Newmans experimenten: Vechten tegen de catalogus.” Volkskrant, 23 September 1980, unpaginated.

Volboudt, P. “La ruée vers l’espace.” XXe Siècle, n.s. 40 (June 1973), p. 77.

Volpi, Marisa. “Vision and Colour in New York.” Arte Contemporanea, no. 3 (March 1967), pp. 35–38.

Volpi Orlandini, Marisa. “La forma viviente de Barnett Newman.” Marcatré [Genoa], nos. 34–36 (December 1967), pp. 33–37.

Wallach, Amei. “The Art of Living, Dying, Transcending.” New York Newsday, 4 November 1994, p. B22.

Ward, Ossian. “Perfection Unzipped.” Art Review [U.K.] 53 (September 2002), p. 40.

Warnod, Jeanine. “Barnett Newman pour une élite.” Le Figaro, 14 November 1972, p. unavailable.

Washburn, Martin. “Barnett Newman: A One-Man Culture” [review of 1978 monograph by Harold Rosenberg]. The Village Voice, 27 August 1979, p. 90.

Wei, Lilly. “Barnett Newman: Philadelphia Museum of Art.” Artnews 101, no. 6 (June 2002), p. 126.

Weiss, Jeffrey. “Science and Primitivism: A Fearful Symmetry in the Early New York School.” Arts Magazine 57, no. 7 (March 1983), pp. 81–87.

Welish, Marjorie. “Art.” Manhattan East, 4 April 1969, p. unavailable.

Whelan, Richard. Review of 1978 Barnett Newman monograph by Harold Rosenberg. Artnews 78, no. 8 (October 1979), p. 53.

Whittet, G. S. “London” [review of Barnett Newman exhibition at the Tate Gallery]. Art and Artists [London] 7, no. 4/76 (July 1972), p. 44.

Wickert, Thomas. “Internationally Known Painter Finds Art Way to Change World.” The Scribe [Bridgeport], 30 April 1968, p. 2.

Wilhelm, Karin. “Destruktionen: Die Tücken des Apoll.” In Kunst als Revolte? Von der Fähigkeit der Künste, Nein zu sagen, ed. Karin Wilhelm, pp. 103–18. Giessen: Anabas, 1996.

Willard, Charlotte. “In the Art Galleries: What’s the Big Idea?” New York Post, 1 May 1966, magazine, p. 14.

Willems, Sophia. “Die Wiederkehr des Erhabenen.” Westdeutsche Zeitung, 17 May 1997, p. 6.

Wilson, William. “Barnett Newman, Hypnotist.” Los Angeles Times, 2 August 1965, pt. 5, p. 8.

Wolfram, Eddie. “Art: Barnett Newman at the Tate.” Harpers/Queen, July 1972, p. 50.

Wykes-Joyce, Max. “Barnett Newman—Tate Gallery.” International Herald Tribune, 4 July 1972, p. 8.

Wyss, Beat. “Ein Druckfehler: Panofsky versus Newman—Verpasste Chancen eines Dialogs.” Kunstforum International, no. 119 (May–June 1992), pp. 121–26. Reprinted under the same title. Cologne: Verlag der Buchhandlung Walther König, 1993.

Yaffe, Phyllis C. “Barnett Newman’s Voice of Fire: The Politics of Art Acquisition.” Queens Quarterly 98, no. 4 (Winter 1991), pp. 874–91.

Zakian, Michael. “Barnett Newman and the Sublime.” Arts Magazine 62, no. 6 (February 1988), pp. 33–39.

Zakian, Michael. “Barnett Newman: Painting and a Sense of Place.” Arts Magazine 62, no. 7 (March 1988), pp. 39–43.

Zanini, Ivo. “EUA: 46 obras de 7 artistas; Barnett veio e quer ver Pelé.” Folha de S. Paulo, 28 August 1965, p. 2.

Zimmer, William. “‘Zips’ and Borders: Newman Prints at the Princeton Museum.” The New York Times, 19 February 1984, sec. 11 (New Jersey Weekly), p. 30.

Zutter, Jörg. “Motto: ‘Wer hat Angst vor Rot, Gelb und Blau?’ Zur ersten europäischen Retrospektive von Barnett Newman in Amsterdam.” Tages-Anzeiger [Switzerland], 7 July 1972, p. 21.

Zweite, Armin. “Barnett Newman: Zim Zum II 1969/85.” In KölnSkulptur 1, pp. 114–17. Exh. cat. Skulpturenpark, Cologne, 1997.

Z[weite], A[rmin]. “Barnett Newman” [concerning Zim Zum]. In Einblicke: Das 20. Jahrhundert in der Kunstsammlung Nordrhein-Westfalen, Düsseldorf, pp. 615–16. Ostfildern-Ruit, Germany: Hatje Cantz Verlag, 2000.

Obituaries

“Barnett Newman: American Painter Who Was a Master of Scale.” The Times [London], 10 July 1970, p. 10.

“Barnett Newman, 1905–1970.” The New York Times, 26 July 1970, sec. 2, p. 19.

“Barnett Newman, Painter, 65, Dies.” The New York Times, 5 July 1970, p. 45.

Barnett Newman: Obituary. The Village Voice, 9 July 1970, p. 21.

D[avis], D[ouglas]. “Death of an Artist.” Newsweek, 20 July 1970, pp. 47–48. For Dan Flavin’s rejoinder, a fragmentary letter written between 21 July and 22 August 1970 but never mailed, see Chinati Foundation Newsletter, no. 5 (2000), pp. 20–21.

“Death of Barnett Newman on July 3.” Art Students League News 23, no. 6 (Summer 1970), unpaginated.

French, Philip. “In General: King of Penguins” [includes obituary]. The New Statesman [London], 17 July 1970, p. 64.

H[ess], T[homas] B. “Editorial: Barnett Newman, 1905–1970.” Artnews 69, no. 5 (September 1970), p. 29.

H[ope], H[enry] R. “Barnett Newman.” Art Journal 30, no. 1 (Fall 1970), p. 84.

Heron, Patrick. “Barnett Newman.” Studio International 180, no. 925 (September 1970), p. 70.

Hoffman, Ellen. “Leading American Sculptor, ‘Color Painter’ Artist Barnett Newman Dies.” The Washington Post, 6 July 1970, p. C7.

Hs [Richard Hasli]. “Barnett Newman gestorben.” Neue Zürcher Zeitung, 9 July 1970 (Morgenausgabe no. 312), p. 25.

Jürgen-Fischer, K[laus]. “Kunstkritisches Tagebuch XVII: 9. 9. 70” [includes obituary]. Das Kunstwerk, 24, no. 1 (January 1971), p. 24.

Kerber, Bernhard. “Wider die Rhetorik der Schönheit: Ethik statt Ästhetik: Zur Malerei Barnett Newmans.” Frankfurter Allgemeine Zeitung, 16 July 1970, p. 9.

Leider, Philip. “How I Spent My Summer Vacation or, Art and Politics in Nevada, Berkeley, San Francisco and Utah” [includes obituary]. Artforum 9, no. 1 (September 1970), pp. 40–49.

“Le peintre et sculpteur Barnett Newman.” Le Monde, 13 August 1970, p. unavailable.

“Most with the Least.” Time, 20 July 1970, p. 54.

Murray, Robert. “Barnett Newman (1905–1970), an Appreciation.” Artscanada, August 1970, pp. 50–51.

Netter, Maria. “Zum Tode von Barnett Newman.” Basler Nachrichten, 8 July 1970, p. 5.

Robertson, Bryan. “Barnett Newman.” The Times [London], 11 August 1970, p. 10.

Russell, John. “Search for Onement.’” The Sunday Times [London], 19 July 1970, p. 21.

Strelow, Hans. “Saison der Realisten” [includes obituary]. Frankfurter Allgemeine Zeitung, 4 August 1970, p. 21.

wb [Wolfgang Bessenich]. “Zum Tod von Barnett Newman.” National-Zeitung Basel, 8 July 1970, p. 7.

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