I «rettangoli viventi» di Barnett Newman: una riflessione estetica su emozione e cognizione nell’arte astratta

Patrizia Cappellini


The transition between the first abstract art – the one that precedes the second post-war period - and its later development can be investigated through Barnett Newman's “living rectangles”. Because Newman's pictures try to overcome both the objective idea of art - that still survives in the programmatic, geometrical abstraction of painters such as Mondrian and Klee - and the pure visibility of later formalist painters. Released from every prepackaged figure, emotion is commited though dangerously to language alone.


Abstraction; Emotion; Art; Newman

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DOI: http://dx.doi.org/10.13128/Aisthesis-10944

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