home

fetish

images

text

gin

applesanity.com > fetish > sublimis

Actually, it's spelled 'Sublimus'

Unfortunately, one has to see the painting in person to appreciate it. A little picture will do it no justice.

Vir Heroicus Sublimis - Barnett Newman

Abstract

Barnett Newman 's Vir Heroicus Sublimis (1950-51) is a very large, horizontal abstract painting. It measures 242.2 by 541.7 centimeters, or roughly eight by eighteen feet. The painting hangs in Room #18, on the fourth floor of the New York Museum of Modern Art (MoMA). Upon initial viewing, the experience of looking at the Newman is one of intensity, with a strong, saturated red field divided by contrasting vertical bands. The lines, together with the physical dimensions of the panel, form numerous golden ratios.

The work celebrates the art of painting by highlighting many elements involved in painting itself - noting the boundaries and dimensions of the frame, varying the technique and application of paint within different mediums, accenting the nature of the canvas: flat, textured and evident, and demonstrating the many possibilities of color as a part of composition and effect. Furthermore, Vir Heroicus Sublimis establishes a relationship with a viewer by different experiences contrasted in initial and prolonged viewing, as well as close-up and distant observation.

Consequently, let us analyze and compare this painting by how a typical viewer may approach the work: the initial, distant impression, followed by the prolonged distant experience, then the initial nearby observation, and the subsequent extended nearby effects, and lastly, the examination of all four effects together.

Initial, Distant Viewing

Walking into the room with the Barnett Newman painting creates an intense impression for the viewer. The eyes are immediately flooded with a very large, horizontal field of saturated red. The field itself is divided by five vertical lines running parallel to the work's vertical edges, starting with a thin, lighter red on the left, then a striking white band, a wider but less intense dark-red line, then another thin light red, and lastly, a subdued and wide white very close to the right edge.

The apparent lack of symmetry is an illusion. In fact, the strong white and black bands form a square right in the middle of the panel that is about eight by eight feet. Therefore, the two side rectangles have dimensions of approximately five by eight feet, which translates as the Golden Ratio. The rectangle on the left appears wider than the rectangle on the right because the left one is divided asymmetrically by a lighter red band while the one the right is divided more symmetrically by a band of the same color.

The effect of having an additional white band near the right edge is that the remaining red becomes its own line. Consequently, there is a greater sense of vertical alignment on the right side, which helps create the impression of it being relatively thinner than the left.

Definition of the Golden Ratio

Imagine a rod that has been marked somewhere along its length so that the rod itself has been divided into two, unequal segments. Suppose that the division is such that the ratio of the long segment to the short segment is the same ratio as the length of the entire rod to the long segment. Hence or otherwise, imagine a number that equals X + Y, where X/Y = (X + Y)/X. This ratio is known as the Golden Ratio. Using its unique attributes, the following rectangle is formed:

The Golden Rectangle is defined as a rectangle whose short side is a width of X, and long side is X + Y. As such, take a square away from the rectangle, and one is left with a smaller rectangle, whose sides are X and Y. Notice that the dimensions of the smaller rectangle are proportional to the larger. Consequently, the divisions can be repeated to infinity:

The Golden Ratio is not just some hypothetical number dreamed up by mathematicians. This number exists everywhere.

If one curls his fingers, he will notice that the middle and long joints of his index finger will form an outline for the above rectangle. The typical, aesthetically pleasing smile features teeth where the ratio of the front incisor is a Golden Ratio proportion to the tooth next to it, when looking into a mirror. The dimensions of the faces of beautiful people fall under Golden Ratios as well.

Within nature, the ratio appears in the spirals of seed pods and pinecones, as well as the formation of leaves on branches. The (somewhat complicated) reason is that it affords for the most efficient growth. The next leaf to sprout from a branch will form a turn equal to a golden ratio of a full rotation. Consequently, every leaf below it is provided a maximum distribution of light.

Architects have long known of this number. The front of the Parthenon is a Golden Ratio. The front of Amiens Cathedral in Notre Dame is a Golden Ratio.

The theory of the relationship between art, aesthetics, and the Golden Ratio is that this proportion is so commonly occurring in nature that we typically forget or neglect to notice such dimensions. However, by suggesting the ratio, we are reminded of the natural world, and the suggestion becomes pleasing to the eye.

In landscape paintings, the horizon line separating sky and ground is usually a Golden Ratio. The face of Da Vinci's Mona Lisa is a Golden Ratio.

Formally, The Golden Ratios is known as 'phi' and is an irrational number: 1.618033989... or 0.618066989. The first number is the ratio of the long to the short dimension, while the second is the opposite. Mathematically, phi can be reached a number of ways:

The following expression provides the explanation why the Fibonacci sequence (1, 1, 2, 3, 5, 8, 13,...), when taken to infinity, gives the Golden Ratio:

With few intuitive calculations, the otherwise recursive nature phi can also be expressed numerically as:

In addition to the Golden Ratio's unique property of infinite divisibility by itself to derive itself, powers of phi present significant outcomes themselves. The inverse of phi is equal to phi minus one, and the square of phi is equal to phi plus one.

Taken to its logical conclusion, the powers of phi are:

where fn denotes the sequence of Fibonacci numbers.

Geometry of Vir Heroicus Sublimis

Let us re-examine this Barnett Newman work, mathematically.

For the sake of argument, let us ignore the band on the very right because the final division is too small be of significance and because we have already made the assumption that the final band was for illusionary purposes. Reduced to its most basic geometry, the work becomes:

As the dimensions of the work are 242.2 by 541.7 centimeters, the ratio of its length versus height is 2.23658... At first, the number may appear without logic, but but by examining the work, what the viewer should see is essentially a square and two golden ratios. Since we have already defined the sides of a Golden Rectangle as:

the ratio of length and width in Vir Heroicus Sublimis should be:

Clearly, Barnett Newman 's selection of canvas dimensions cannot be a mere coincidence. In order to explain the placement of the vertical lines, we must first give reference to the first level of Golden Ratios:

In determining the logic for the placement of the secondary bands, the rectangle on the right is easiest to figure out - the division should be reminiscent of a landscape painting put on its side:

where:

The proportions on the left side are less intuitive. However, if we are to assume that the placement of the left-most line was intentional, and that its placement has something to do with Golden Ratios, then:

where:

In hindsight, the reasoning behind the composition becomes more apparent: while the right rectangle was a series of reducing squares, the left rectangle is a series of reducing rectangles. The result is that the larger of the two sections in the left rectangle is directly proportional to the dimensions of the whole panel.

Additionally, the two smallest, shaded rectangles in the above diagram also form another rectangle that is directly proportional to the entire panel.

All of these equations, essentially, show that the mathematics behind this work display a beautiful level of simplicity and order that is not readily noticeable. However, understanding the math is not as important as appreciating the amount of logic involved.

It seems that Barnett Newman has presented the viewer with an interesting paradox - despite the initial observation that the composition of Vir Heroicus Sublimis appears random or arbitrary, there is much logic involved. Additionally, each division of the panel draws a direct reference to the entire panel itself.

Prolonged, Distanced Viewing

This work lack frames. Let us assume that the absence of frames was intentional. Hence or otherwise, having no frames removes the possibility of border restrictions on the panel; the effect is that, without boundaries, the paintings appear even larger. Furthermore, the frames would invariably add a third dimension to both works, thereby detracting from the plainly flat feeling of the work.

An extended viewing of the Barnett Newman from a distance such that the entirety of the panel can be seen provides different viewing experience. Given time, the eyes will adjust to the intensity of the red. As the light, thin red bands almost fade from view, new colors arise. We begin to see browns, lighter shades of red, grays, blues, and greens inside the red. Of course, the green-blue hues are most significant because initial impressions yielded no greens.

However, we must understand that with prolonged, intense viewing of any color will generate an after-image of its complementary color. The physical reaction is natural and serves to lessen the strain on the eyes. Evidence of the green-blue hues becomes most striking when the viewer looks away from painting - suddenly, the entire room and everything in it has a green-blue tint that fades away after the eyes re-adjust. Consider the following demonstration - Do not look at the colored circles, but focus the eyes on the center black dot for at least twenty seconds:

The abrupt change in color causes a very obvious after-image. Whenever one of the reddish circles disappears, the sudden change in contrast is so significant that eventually, the after-image is more intense than the actual colors themselves.

The painting has thus established an intimate relationship with the viewer. There is no way that anyone either appreciate or grasp the effect of this painting without a personal observation. A picture or slide, no matter how enlarged, cannot and will not generate such an effect. Looking back at the painting, the viewer struggles to assimilate both the illusion of green-blue hues against the very real red paint. Parts of the painting may appear green or blue momentarily, but will revert back to its red.

The constant undulating brings the entire panel to life. On the left side, the intense white line gives the viewer illusions of lighter greens, blues, or lighter reds within the red field, while on the right, the apparently subdued black, red, and white lines achieve more harmonious blending of illusion and reality.

The obvious question begged is what, if any, purpose the vertical bands in both works serve. We can determine the answer by acknowledging that this painting is very massive. By the use of vertical lines, the viewer wants to view this work by separating the entirety into its divisions. This persuasion encourages close-up viewing, especially in a scanning motion. Furthermore, the lines create boxes that are aligned horizontally, thereby noting the dimensions of the panels. To this end, the artist has called attention to the fact that their respective works are indeed, paintings that were done on large, horizontal canvases.

The subsequent question begged is, if the paintings are horizontal in composition, would not the use of horizontal lines work better? The answer lies in the fact that these works are not small at all. Breaking up the paintings with lines encourages viewing individual divisions of the works, but since they are so large, the viewer is unable to analyze horizontal parts without losing either side - at a close enough range, the edges of the parts and their dividing lines would outside peripheral view.

Consequently, the vertical lines establish a relationship to the viewer such that we are given the option of grasping parts of the painting without the feeling of losing things beyond our angle of vision. Observing boxes side-by-side, as part of a scanning motion, is not only much easier than looking at 18-feet wide rectangles stacked on top of each other, but also achieves a sense of lateral alignment that our hypothetical option cannot provide.

Heroic, Sublime, Up Close

Now we shall walk closer to the Newman. The undulation of blues, greens and reds dissipates and now we see that in fact, the artist has intentionally painted many layers of grays, light reds, tans, and blue-greens under the red surface. It is as if (and most certainly so) that Newman had anticipated the effects of prolonged, distant viewing and helped to strengthen the effect by offering shades of complementary shades into the red fields.

Obviously, there are fewer complementary patches than we observed in the distant viewing but they are there nevertheless. Additionally, we see patches of light red on the left golden rectangle, and darker grays on the right. Observed from a distance we would not have been able to realized such a blending of colors because we would have attributed it to the apparent optical illusions.

Next, we see that the vertical bands were not what they seemed. The two thin light-red lines have a sharp red outline, as well as some bleeding of the intense red onto the lighter red. The most convincing explanation is that application of the light red was applied first. Then Newman attached two strips of tape where the light red bands should be. In order to make the appearance of these lines, he painted the intense red color over the tape. The sharp outlines of red would therefore be the edges of the tape itself.

Looking at the left white line, what we had thought to be a very intense band is actually defined by brushstroke. A white line was painted over the red paint without regards to making sharp outlines between either color - we can see red paint underneath the streaks of white. The dark-red band, however, does have sharp, outlined distinction from the red field, but it is evident that the original paint was so thin that it was actually black paint that allowed the red hues to blend though.

The final band is a combination of the techniques used by the white and black bands. It has the same thin medium like the black band, but the streaks from the white line due to brushstroke. Hence, some of the red blends though. Coupled with the lack of sharp outline, the white band appears subdued.

Extended Surface Analysis

In the initial close-up relationship of the viewer and panel, we see that Newman has intended for us to see markedly different things, based on distance. We now see the presence of the painter in the varying techniques employed in making the lines that would not be noticeable otherwise. We see the order of the application of paint; we grasp some of the painter's methodology in making this work.

The actual surface is comprised of endless horizontal ripples. Perhaps this surface is due to brushstroke, the physical texture of the canvas, or the result of stretching the canvas. There is no strong evidence to point to any possibility, but whatever the case may be, we as the viewer cannot help but be exposed to evidence of a canvas. The application of paint has been so thin that woven threads of canvas are clearly distinguishable. Assuming that the thinness in medium was intentionally, Barnett Newman has thus provided the viewer further insight into the nature of painting - painting is done, after all, on a canvas.

Summation

Vir Heroicus Sublimis is quintessential (good) modern art. Instead of being a representational piece, or denying itself as a painting, it embraces all aspects of painting as part of its beauty. Compositionally, it draws many references to its size, dimensions, and flatness. With the use of the intense red and many levels of other shades underneath, we see the effect that color has as a visual experience. The use of geometry and ratios demonstrate an interesting mix of order and randomness. The techniques used in the application of paint, combined with the numerous and thin layers of tone, show the viewer the process and methodology of creating the work.

Written by Dinah Cheshire
Exclusive property of www.applesanity.com