{"title":"尼采与西北海岸印第安艺术对纽曼《抽象崇高》救赎思想的影响","authors":"W. Rushing","doi":"10.1080/00043249.1988.10792411","DOIUrl":null,"url":null,"abstract":"In the late 1930s and early 1940s the “myth-makers” of the New York avant-garde, including Adolph Gottlieb, Jackson Pollock, Richard Pousette-Dart, and Mark Rothko, made paintings that referred to atavistic myth, primordial origins, and primitive rituals and symbols, especially those of Native American cultures. Barnett Newman began to work in a similar fashion about 1944 and was influential as a theorist and indefatigable promoter of this new art. The “myth-makers” shared a tendency to depict ritual violence or inherently violent myths as well as an archaism exemplified by biomorphic forms and, often, coarse surfaces. This self-conscious primitivism of early Abstract Expressionism, which included totemic imagery and pictographic writing derived from Native American art, differed in essence from the primitivism of the earlier European avant-garde in that it was “an intellectualized primitivism.” Indeed, if the primitivism of Picasso and Matisse, for example, was the decontextualization of the plastic form...","PeriodicalId":164647,"journal":{"name":"Reading Abstract Expressionism","volume":"21 34","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1988-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"5","resultStr":"{\"title\":\"The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman's Idea of Redemption in the Abstract Sublime\",\"authors\":\"W. Rushing\",\"doi\":\"10.1080/00043249.1988.10792411\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In the late 1930s and early 1940s the “myth-makers” of the New York avant-garde, including Adolph Gottlieb, Jackson Pollock, Richard Pousette-Dart, and Mark Rothko, made paintings that referred to atavistic myth, primordial origins, and primitive rituals and symbols, especially those of Native American cultures. Barnett Newman began to work in a similar fashion about 1944 and was influential as a theorist and indefatigable promoter of this new art. The “myth-makers” shared a tendency to depict ritual violence or inherently violent myths as well as an archaism exemplified by biomorphic forms and, often, coarse surfaces. This self-conscious primitivism of early Abstract Expressionism, which included totemic imagery and pictographic writing derived from Native American art, differed in essence from the primitivism of the earlier European avant-garde in that it was “an intellectualized primitivism.” Indeed, if the primitivism of Picasso and Matisse, for example, was the decontextualization of the plastic form...\",\"PeriodicalId\":164647,\"journal\":{\"name\":\"Reading Abstract Expressionism\",\"volume\":\"21 34\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1988-01-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"5\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Reading Abstract Expressionism\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/00043249.1988.10792411\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Reading Abstract Expressionism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/00043249.1988.10792411","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman's Idea of Redemption in the Abstract Sublime
In the late 1930s and early 1940s the “myth-makers” of the New York avant-garde, including Adolph Gottlieb, Jackson Pollock, Richard Pousette-Dart, and Mark Rothko, made paintings that referred to atavistic myth, primordial origins, and primitive rituals and symbols, especially those of Native American cultures. Barnett Newman began to work in a similar fashion about 1944 and was influential as a theorist and indefatigable promoter of this new art. The “myth-makers” shared a tendency to depict ritual violence or inherently violent myths as well as an archaism exemplified by biomorphic forms and, often, coarse surfaces. This self-conscious primitivism of early Abstract Expressionism, which included totemic imagery and pictographic writing derived from Native American art, differed in essence from the primitivism of the earlier European avant-garde in that it was “an intellectualized primitivism.” Indeed, if the primitivism of Picasso and Matisse, for example, was the decontextualization of the plastic form...