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Newman, The Sublime is Now

Newman, The Sublime is Now

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Published by Ethan Hunt

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Published by: Ethan Hunt on Dec 12, 2012
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Barnett Newman, "The First Man Was an Artist," 1947
Undoubtedly the first man was an artist.A science of paleontology that sets forth this proposition can be written if itbuilds on the postulate that the aesthetic act always precedes the socialone. The totemic act of wonder in front of the tiger-ancestor came beforethe act of murder. It is important to keep in mind that the necessity fordream is stronger than any utilitarian need. In the language of science, thenecessity for understanding the unknowable comes before any desire todiscover the unknown.Man's first expression, like his firstdream, was an aesthetic one.Speech was a poetic outcry ratherthan a demand for communication.Original man, shouting his conso-nants, did so in yells of awe and an-ger at his tragic state, at his ownself-awareness, and at his own help-lessness before the void. Philologistsand semioticians are beginning toaccept the concept that, if languageis to be defined as the ability tocommunicate by means of signs, bethey sounds or gestures, then lan-guage is an animal power. Anyonewho has watched the common pi-geon circle his female knows thatshe knows what he wants.The human in language is literature,not communication. Man's first crywas a song. Man's first address to aneighbor was a cry of power andsolemn weakness, not a request fora drink of water. Even the animalmakes a futile attempt at poetry. Or-nithologists explain the cock's crowas an ecstatic outburst of his power.The loon gliding lonesome over the lake, with whom is he communicating?The dog, alone, howls at the moon. Are we to say that the first man calledthe sun and the stars
as an act of communication and only after hehad finished his day's labor? The myth came before the hunt. The purposeof man's first speech was an address to the unknowable. His behavior hadits origin in his artistic nature.
Barnett Newman,
, 1946
Just as man's first speech was poetic before it became utilitarian, so manfirst built an idol of mud before he fashioned an ax. Man's hand traced thestick through the mud to make a line before he learned to throw the stickas a javelin. Archeologists tell us that the ax-head suggested the ax-headidol. Both are found in the same strata so they must have been contempo-raneous. True, perhaps, that the ax-head idol of stone could not havebeen carved without ax instruments, but this is a division in metier, not intime, since the mud figure anticipated both the stone figure and the ax. (Afigure can be made out of mud but an ax cannot.) The God image, not pot-tery, was the first manual act. It is the materialistic corruption of present-day anthropology that has tried to make men believe that original manfashioned pottery before he made sculpture. Pottery is the product of civi-lization. The artistic act is man's personal birthright.The earliest written history of human desires proves that the meaning ofthe world cannot be found in the social act. An examination of the firstchapter of Genesis offers a better key to the human dream. It was incon-ceivable to the archaic writer that original man, that Adam, was put onearth to be a toiler, to be a social animal. The writer's creative impulsestold him that man's origin was that of an artist and he set him up in a Gar-den of Eden close to the Tree of Knowledge, of right and wrong, in thehighest sense of divine revelation. The fall of man was understood by thewriter and his audience not as a fall from Utopia to struggle, as the socio-logicians would have it, nor, as the religionists would have us believe, as afall from Grace to Sin, but rather that Adam, by eating from the Tree ofKnowledge, sought the creative life to be, like God, "a creator of worlds,"to use Rashi's phrase, and was reduced to the life of toil only as a result ofa jealous punishment.In our inability to live the life of a creator can be found the meaning of thefall of man. It was a fall from the good, rather than from the abundant, life.And it is precisely here that the artist today is striving for a closer approachto the truth concerning original man than can be claimed by the paleon-tologist, for it is the poet and the artist who are concerned with the functionof original man and who are trying to arrive at his creative state. What isthe
raison d'etre,
what is the explanation of the seemingly insane drive ofman to be painter and poet if it is not an act of defiance against man's falland an assertion that he return to the Adam of the Garden of Eden? Forthe artists are the first men.
* Excerpt from
Tiger's Eye 
(New York), No.1 (October 1947), pp. 59-60.2
Barnett Newman, "The Sublime Is Now," 1948
Michelangelo knew that the meaning of the Greek humanities for his timeinvolved making Christ-the man, into Christ-who is God; that his plasticproblem was neither the mediae-val one, to make a cathedral, northe Greek one, to make a manlike a god, but to make a cathe-dral out of man. In doing so heset a standard for sublimity thatthe painting of his time could notreach. Instead, painting contin-ued on its merry quest for a vo-luptuous art until in moderntimes, the Impressionists, dis-gusted with its inadequacy, be-gan the movement to destroy theestablished rhetoric of beauty bythe Impressionist insistence on asurface of ugly strokes.The impulse of modern art wasthis desire to destroy beauty.However, in discarding Renais-sance notions of beauty, andwithout an adequate substitutefor a sublime message, the Im-pressionists were compelled topreoccupy themselves, in theirstruggle, with the cultural valuesof their plastic history so that in-stead of evoking a new way of experiencing life they were able only tomake a transfer of values. By glorifying their own way of living, they werecaught in the problem of what is really beautiful and could only make a re-statement of their position on the general question of beauty; just as laterthe Cubists, by their Dada gestures of substituting a sheet of newspaperand sandpaper for both the velvet surfaces of the Renaissance and theImpressionists, made a similar transfer of values instead of creating a newvision, and succeeded only in elevating the sheet of paper. So strong isthe grip of the
of exaltation as an attitude in the large context ofthe European culture pattern that the elements of sublimity in the revolu-tion we know as modern art, exist in its effort and energy to escape thepattern rather than in the realization of a new experience. Picasso's effortmay be sublime but there is no doubt that his work is a preoccupation withthe question of what is the nature of beauty. Even Mondrian, in his attemptto destroy the Renaissance picture by his insistence on pure subject mat-
Barnett Newman,
, 1950

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