MIND'S EYE

O N E M I N D ' S EYE
T H E PORTRAITS A N D O t ^ E R P H O T O G R A P H S O F

A R N O L D N E W M A N
Introduction by Robert Sobieszek
Foreword by Beaumont Newhall

If y o u ' v e c o m e t h i s far, d o n ' t b o t h e r to r e a d t h i s ( l a p c o p y b u t t u r n

immediately to the contents of the b o o k . Y o u k n o w the photo-
g r a p h s ; y o u ' v e s e e n t h e m f o r y e a r s . N e w m a n ' s p o r t r a i t s o f Stra-
v i n s k y h u n c h e d w i t h i n I h e b l a c k f r a m e o f his g r a n d p i a n o , o !
O ' K e e f f e sitting gravely, q u i e t l y b e s i d e h e r h u s b a n d Alfred Stieglitz,
of Adlai S t e v e n s o n staring laconically, almost apologelically, before
t h e g r e a l e m p t y c h a m b e r o f t h e U n i t e d N a t i o n s , o f J o h n F. K e n n e d y
a s a g r e e n f r e s h m a n s e n a t o r a n d later as president, are classics
f a m i l i a r to a n e n t i r e g e n e r a t i o n .

T h e y a r e all h e r e , the f a m o u s f a c e s of t h e lasf thirty y e a r s . But that

is h a r d l y w h a t s e t s t h i s b o o k apart f r o m o t h e r s o f its k i n d , for t h e
i c o n o g r a p h y o f t h e g r e a t is a n o l d a n d b a n a l p u b l i s h i n g c o n v e n t i o n .
W h a t d i s t i n g u i s h e s N e w m a n , w h a t m a k e s h i m v e r y s p e c i a l , is that
h e d o e s m o r e than record - h e interprets. H i s portraits, placing
t h e i r s i f t e r s i n d e l i b l y in t h e c o n t e x t s o f m o o d , t i m e , a n d p r o f e s s i o n ,
d o m o r e t h a n tell y o u w h a t t h e p e r s o n d o e s ; t h e y tell y o u w h a t h e
s t a n d s f o r , in s h o r t , w h a t h e is. T h e f a c e s , o n c e o b s e r v e d , a r e
u n f o r g e t t a b l e , b u t t h e y w o u l d b e s o e v e n if t h e n a m e s w e r e c o m -
p l e t e l y u n k n o w n a n d u n s u n g . F o r it is really b e s i d e t h e p o i n t that
t h e p e o p l e N e w m a n has r e c o r d e d a r e g r e a t . ' T h e s e a r e g r e a t p h o -
tographs b e c a u s e they a r e framed with intelligence, c o m p o s e d with
vision a n d s y m p a t h y , a n d e x e c u t e d w i t h c o n s u m m a t e craft.

A R N O L D N E W M A N w a s b o r n in N e w Y o r k C i t y in 1918 b u t g r e w
u p in A t l a n t i c C i t y a n d M i a m i B e a c h . I n 1938 h e w e n t to w o r k for a
portrait s t u d i o in P h i l a d e l p h i a . T h r e e y e a r s later h e s h a r e d a n
e x h i b i t w i t h B e n R o s e in N e w Y o r k , a n d t h e M u s e u m of M o d e r n A r t
b o u g h t h i s p r i n t s f o r t h e first t i m e After W o r l d W a r II N e w m a n
m o v e d to N e w Y o r k , w h e r e h e a n d h i s w i f e A u g u s t a still live. In
a d d i t i o n t o w o r k i n g for h i s o w n p u r p o s e s , he h a s a c c e p t e d a s s i g n -
m e n t s f r o m Harper's Bazaar. Life. Holiday, and other magazines.
N e w m a n ' s w o r k h a s b e e n e x h i b i t e d w i d e l y , b u t this is t h e first t i m e
a collection of his p h o t o g r a p h s has b e e n p u b l i s h e d .

Portraits on the cover

F r o n t , left to r i g h t : Georgia O'Keeffe and Alfred Stieglil?., 1944; David
Ben-Gurion, 1967; Pablo Picasso, 1954.
Back: Marilyn Monroe, 1962; Igor Stravinsky, 1946,

Printed in U. S. A.
Copyright1 1974 by Arnold Newman
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ONE MIND'S EYE
THE PORTRAITS A N D O T H E R P H O T O G R A P H S OF

ARNOLD NEWMAN

Foreword by Beaumont Newhall

Introduction by Robert Sobieszek
D A V I D R. G O D I N E, P U B L I S H E R
Boston

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То Augusta, Eric, and David with love.

Co;.. I г С :«»'4 by David R. Godine, Publisher • 306 Dartmouth Street. Boston. Massachusetts 02116 • Photographs copyright © 1974 by Arnold Newman • ISBN 0-87923-094-0 • I C C 74-81520
FOREWORD
by Beaumont Newhall
A R N O L D N E W M A N is o n e of the f e w of today's photographers w h o
makes portraits that are at o n c e likenesses and c o m p e l l i n g images. As
Robert S o b i e s z e k points out in his i n t r o d u c t i o n to this fine c o l l e c t i o n of
N e w m a n ' s p h o t o g r a p h s , portraiture, o n c e the very s t r o n g h o l d of pho-
tography, has almost b e c o m e a lost art. W e k n o w o u r leaders, states-
m e n , artists, w r i t e r s , m u s i c i a n s , and other p u b l i c figures largely by the
journalistic r e c o r d , the hastily p o s e d grab s h o t , ' the overly theatrical
m a g a z i n e c o v e r , the routinely lighted T V image. W e r e m e m b e r o u r
friends and o u r family by the casual snapshot or the grotesquely
r e t o u c h e d p r o d u c t of the local studio. Rare i n d e e d is the sympatheti-
cally s e e n portrait, product of the e y e of a sensitive photographer and
the active c o o p e r a t i o n of a sitter. I think this is b e c a u s e few photog-
raphers possess the n e e d e d abilities.
l ull m a s t e r y of p h o t o g r a p h y is, of c o u r s e , essential. T h e c a m e r a is a
d e c e p t i v e tool. W i t h today's technology m e d i o c r e results can b e
a c h i e v e d automatically. U n f o r t u n a t e l y , mediocrity is all too often con-
fused w i t h s u c c e s s ; w e are too easily pleased. To p u s h photography
b e y o n d the a c c e p t a b l e d e m a n d s self-discipline and self-criticism o n the
part of the artist. I a m r e m i n d e d of that passage in Edward W e s t o n ' s
Mexican Daybook w h e n , c o n t e m p l a t i n g a p h o t o g r a p h he had just
m a d e , he w r o t e :
lust the trunk of a palm tree lowering up to the sky; not even a real
one - a palm on a piece of paper, a reproduction of nature: I
wonder why it should affect one emotionally - and I wonder what
prompted me to record it. Many photographs might have been
done of this palm, and they would he just a photograph of a
palm - Yet this is but a photograph of a palm, plus something
- something - and I cannot quite say what that something is - and
who is there to tell me?
No critic c o u l d have a n s w e r e d W e s t o n ' s q u e s t i o n . O n l y h e himself
c o u l d do s o and he d i d , not in w o r d s , but in photographs.
A v o i d a n c e of the trite, the banal, the obvious d e m a n d s visual imagi-
nation. N e w m a n ' s insistence u p o n the inclusion in his portraits of some
vital aspect of the sitter's e n v i r o n m e n t goes far beyond o b v i o u s symbol-
i s m . Subtly, yet p o w e r f u l l y , h e recreates the very w o r l d of the sitter.
S o m e h o w the cigarette s m o k e in his portrait of Max Ernst is a palpable,
t h r e e - d i m e n s i o n a l form, akin to t h o s e the artist himself enjoys and
c r e a t e s ; s o m e h o w Piet M o n d r i a n b e c o m e s a part of his o w n photo-
g r a p h e d painting; s o m e h o w that fragment ot w a l l w h i c h N e w m a n inte-
grated w i t h the noble head of lean Dubuffet c o u l d be a detail of o n e of
that painter s c a n v a s e s . In a strange s e n s e many of N e w m a n ' s most
effective portraits seem to me almost self-portraits, as if the sitter him-
self had c o n c e i v e d the image. There is in t h e m a sense of play, of
e x c i t e m e n t , of e x p e r i m e n t . O n e can imagine the sitter saying, 'Let's try
t h i s ! ' and N e w m a n a n s w e r i n g , 'Great — just h o l d it!' T h i s I c o n s i d e r
the mark of yet o n e m o r e ability, and the hardest to d e f i n e : m o d e s t y ,
u n d e r s t a n d i n g , sympathetic lor perhaps rather empathetic) rapport with
the s u b j e c t , e v e n self-effacement. T h e r e are photographers w h o
i m p o s e their personalities u p o n the images they create to s u c h an
extent that the sitter b e c o m e s a m o d e l a n d not a p e r s o n . Not so New-
man, w h i c h may b e the reason h e dislikes fashion p h o t o g r a p h y ; it is
interesting to o b s e r v e that the o n e photograph in this c o l l e c t i o n iden-
tified simply as ' M o d e l ' is very m u c h a p e r s o n .
O v e r the years, since the day w h e n lie brought s o m e of his early
photographs to the M u s e u m of M o d e r n Art and I r e c o m m e n d e d that a
few b e p u r c h a s e d for the p e r m a n e n t c o l l e c t i o n , I have followed A r n o l d
N e w m a n ' s c a r e e r , r e j o i c i n g in e a c h step forward. T o look back over his
w o r k as p r e s e n t e d in this collection is rewarding. For h e shows us
clearly that photography, p u r e and s i m p l e , n e e d not b o r r o w from other
m e d i a . T h e i m a g e , his image, w a s there w h e n the shutter c l i c k e d .
INTRODUCTION
by Robert Sobieszek
T H E R E I S Л D I S T I N C T I V E S T Y L E to I h e p h o t o g r a p h i c p o r t r a i t u r e of
A r n o l d N e w m a n , a style w h i c h e v o l v e d from a partly trained and partly
intuitive sensibility to both p i c t u r e s and p e o p l e . A professional photog-
r a p h e r w o r k i n g in New York for over fhe past quarter c e n t u r y , N e w -
m a n ' s credit line is p r i n t e d beneath a staggering n u m b e r of f a m o u s and
s e m i n a l portraits. His images of Stravinsky, to begin w i t h his best-
k n o w n w o r k , as w e l l as t h o s e of Max Ernst, D w i g h t D . E i s e n h o w e r ,
Pablo Picasso, C a r l S a n d b u r g , L y n d o n B. l o h n s o n , and Alfried Krupp,
are not only photographic l i k e n e s s e s at their most a c c o m p l i s h e d but
possibly m o r e r e c o g n i z a b l e than the personality h i m s e l f . O f t e n , as in
the cases of S t r a v i n s k y , Picasso, and l o h n s o n , his portraits are the sym-
bolic distillation of the sitter's a p p e a r a n c e for the public c o n s c i o u s n e s s .
That certain of N e w m a n ' s portraits are in many ways the single likeness
immediately e q u a t e d with the personality o w e s as m u c h to the photog-
rapher's ability and r e f i n e d sense of design as to the distributive p o w e r s
of s u c h p u b l i c a t i o n s as Harper's Bazaar and Life. H o w e v e r , e v e n if his
images had n o l b e e n as w e l l marketed as they w e r e , N e w m a n ' s por-
traits w o u l d still exemplify a very real artistic a c h i e v e m e n t i n photo-
graphic portraiture. His pictures have already b e e n i n c l u d e d in m a n y of
the histories of p h o t o g r a p h y a n d are comfortably maintained w i t h i n the
context ot the m e d i u m ' s portrait tradition.
T h e engaging and lucrative property of r e n d e r i n g the h u m a n face has
b e e n the single most d o m i n a n t role of photography since its advent.
This visual perquisite c o u l d n o l fail but c o m m a n d s u c h an accessible
m e d i u m . W i t h i n m o n t h s of I h e 1839 publication of the d a g u e r r e o t y p e
p r o c e s s , the first s u c c e s s f u l photographic t e c h n i q u e , N e w Y o r k wit-
n e s s e d the e s t a b l i s h m e n t of this c o u n t r y ' s first photographic portrait
galli-rv T h e e n s u i n g portrait ' i n d u s t r y ' expander! at a p h e n o m e n a l r a l e ;
while there w e r e only three portrait galleries in L o n d o n in 1841 and
about л d o z e n by 1851, b y 1861 there w e r e in excess of two h u n d r e d . '
T h e d e m a n d for likenesses that w e r e at o n c e easy and i n e x p e n s i v e to
obtain w a s satisfied by the photograph. T h e credibility of the c a m e r a
image and the potential for u n q u e s t i o n i n g faith in its s i m i l i t u d e t o the
p e r s o n r e p r e s e n t e d further a d d e d to the g r o w t h of the industry.
T h e primary function of the photographic portrait has b e e n l o record
the faces and figures of k i n , a c q u a i n t a n c e s , and the f a m o u s . As a docu-
ment the portrait b e c o m e s a f o r m of visual biography utilized for both
i m m e d i a t e recognition and historical r e c o l l e c t i o n . T h i s function w a s
accepted by the early p i o n e e r s of I h e m e d i u m and is still p r o f e s s e d
today. W i l l i a m H e n r y Fox Talbot, the inventor of the m o d e r n nega-
tive/positive printing p r o c e s s , inquired in his book The Pencil of Nature:
' W h a t c o u l d not b e the v a l u e to o u r English Nobility of s u c h a record of
their a n c e s t o r s w h o lived a century a g o ? ' 2 T h e significance of this role
was m a d e a p p a r e n t by the t h o u s a n d s of c o m m e r c i a l portraitists w h o s e
w o r k filled a l b u m s and s c r a p b o o k s s i n c e the 1840's. W i t h little art or
e x p r e s s i o n in the portrayal of the sitter, w i t h n o c h a r m or picturesque-
ness in the visage, c o u n t l e s s photographs of barely identifiable indi-
viduals have b e e n m a n u f a c t u r e d solely to r e c o r d a face for another to
consider.
A small percentage of portraitists obviously e x e r c i s e d varying d e g r e e s
of artistic c o n t r o l in o r d e r to transcend the ubiquitous and uninterest-
ing. T h e s e photographers have t h r o u g h time d e f i n e d the limitations
and possibilities of the c a m e r a portrait as a w o r k of art. S o m e w e r e
a m a t e u r s l i k e Degas and Lewis Carroll w h o had no intention of market-
ing their w o r k . O t h e r s w o r k e d mainly as individual artists w h o also
f o u n d s o m e c o m m e r c i a l outlets for their w o r k : these i n c l u d e d D . O .
Hill and Robert A d a m s o n , Julia Margaret C a m e r o n . August S a n d e r ,
fcdward W e s t o n . Alfred Stieglitz, and D i a n e A r b u s . M o r e w e r e profes-
sionals s u c h as S o u t h w o r t h and H a w e s , Nadar, C e c i l B e a t o n , Richard
A v e d o n , and F d w a r d Steichen w h o had to balance their o w n criteria of
a e s t h e t i c judgment w i t h the e x i g e n c i e s ol a client and a b u s i n e s s . What-
ever art they managed to apply to the finished picture, it w a s the basic
n e e d to d o c u m e n t a l i k e n e s s that r e m a i n e d p a r a m o u n t .
Essentially a p r o f e s s i o n a l p h o t o g r a p h e i , A r n o l d N e w m a n has accepted
this f u n d a m e n t a l r e q u i r e m e n t of the portrait: ' T h e portrait is a form of
biography. Us purpose is to i n f o r m now and to r e c o r d for history. W e
m u s t r e c o r d facts, not fiction o r idealized images. T h e vital v i s u a l facts
in today's magazine make up t o m o r r o w ' s history t e x t b o o k . ' 1 A l t h o u g h
N e w m a n firmly b e l i e v e s the basis of the portrait is to r e c o r d a l i k e n e s s ,
he d o e s not allow that any l i k e n e s s w i l l suffice n o r that the content is
most important. Before any portrait can be a good portrait, he has
repeatedly c l a i m e d , it has to be a good photograph, w h i c h is w h y the
best portraits are a c h i e v e d by the most sensitive p h o t o g r a p h e r s .
As a factor in i m m e d i a t e recognition or as a m o d e of historical recol-
l e c t i o n , the portrait c a n range from a simple c o u n t e n a n c e to a c o m p l e x
array of material a n d s y m b o l i c data. T h e s e data can consist of g e s t u r e s ,
facial e x p r e s s i o n s , physical a c c e s s o r i e s , e m o t i v e lighting, and e n v i r o n -
mental c o n t e x t s . Most c o m m o n c o m m e r c i a l l y has b e e n the a c c e s s o r y :
the book o n a table, the antique statue or c o l u m n , the tools of the
sitter's trade, a n d the s u p e r b l y elegant tashion the sitter w e a r s . Each of
these artifacts d e n o t e s a quality of the sitter and inspires the v i e w e r to
an u n d e r s t a n d i n g of the s u b j e c t ' s social situation, degree of intelli-
g e n c e , and o t h e r implied biographical details.
M o r e predictably, especially so w i t h amateur snapshots, the biograph-
ical data external to t h e figure are c o n t a i n e d within the b a c k g r o u n d s
of the portrait. T h e e n v i r o n m e n t in w h i c h the sitter exists, the archi-
t e c t u r e or landscape w i t h w h i c h he c o h a b i t s , informs the v i e w e r w i t h
an u n d e r s t a n d i n g of the sitter's life and situation without r e c o u r s e to
a s y m b o l i c language. It is precisely the w o r k i n g out of the relationships
that exist b e t w e e n a p e r s o n and his e n v i r o n m e n t that w a s the basis of
N e w m a n ' s early portraiture.
Л preoccupation with abstraction, combined with an interest in the
documentation of people in their natural surroundings, was the
basis upon which I built my approach to portraiture. The portrait of
a personality must be as complete as we can make it. The physical
image of the subject and the personality traits that image reflects are
the most important aspects, but alone they are not enough. . . . We
must also show the subject's relationship to his world either by fact
or by graphic symbolism. The photographer's visual approach must
weld these ideas into an organic whole, and the photographi(
image produced must create an atmosphere which reflects our
impressions of the whole.*
W h i l e this statement is valid for N e w m a n ' s portraiture i n g e n e r a l , he
has s i n c e e n l a r g e d his c o n c e p t u a l f r a m e w o r k by e x p e r i m e n t i n g w i t h
£
g r a p h i c s , abstractions, a n d m o r e r e l i n e d s y m b o l i s m .
A r o u n d I'M I, w h e n N e w m a n began to make portraits, there w e r e few
p h o t o g r a p h e r s attempting to integrate the sitter w i t h his natural sur-
r o u n d i n g s . It w a s w i t h this goal in mind that N e w m a n c o m m e n c e d his
c a r e e r as portraitist, an idea, as h e often m e n t i o n s , basic to the tun
d a m e n t a l s t r u c t u r e of t h e u b i q u i t o u s s n a p s h o t . At their best, these inte-
grative portraits function tor N e w m a n o n a s o m e w h a t s y m b o l i c level,
and he is c o n v i n c e d that t h e isolation of these p e o p l e i n their s u r r o u n d -
ings is almost i n itself a s y m b o l . T h e s y m b o l i s m is not a factor that is
c o n s t r u c t e d out ot the particular details and data of the portrait. Rather,
the c o m p l e x i n t e r r e l a t i o n s h i p s ot figure and e n v i r o n m e n t act as a picto-
rial code to the personality of the subject and as a d e m a r c a t i o n of his
character-
M u c h of t h e psychological trust in photographic likenesses has b e e n
culturally c o m b i n e d w i t h the a s s u m p t i o n that the h u m a n face is a vehi-
cle tor the individual's character. In 1850 the G e r m a n p h i l o s o p h e r Scho-
penhauer could write:
That the outei man is a picture of the inner, and the face an expres-
sion and revelation ol the whole character, is a presumption likely
enough m itself, and therefore a safe one to go by: borne out as it is
by the iact that people are always anxious to see anyone who has
made himself famous . . . photography . . . affords the most com-
plete satisfaction of our curiosity.
The camera's image was e v e n allowed in e x t r e m e cases the facility of
actually eli( iting a n d capturing the sitter's inner personality. H o l g r a v e ,
H a w t h o r n e ' s p h o t o g r a p h e r i n The House of the Seven Cables, contin-
u e d at length about t h e p e n e t r a t i n g insight of the d a g u e r r e o t y p e por-
trait and c l a i m e d simply thai 'while w e give it credit o n l y for d e p i c t i n g
the merest s u r f a c e , it actually brings out the secret character w i t h a
truth that no painter w o u l d ever v e n t u r e u p o n , e v e n could he detect it.' 1 '
M o s t p h o t o g r a p h e r s have not p l a c e d so m u c h faith in any auton-
o m o u s . semi-magical quality of the c a m e r a , yet the majority of the m o r e
a c c o m p l i s h e d portraitists have admitted that o n e of the most necessary
r e q u i r e m e n t s for a good portrait was their ability to interpret the sitter
a n d r e n d e r not only a likeness but o n e w h i c h c o n t a i n e d a c u e to the
sitter's inner c h a r a c t e r . T h e first attempt at an aesthetics ot photogra-
phic portraiture w a s w r i t t e n by the F r e n c h critic Francis W e y in 1851. In
his e s s a y , T h e T h e o r y of t h e Portrait.' Wey categorically declares that
' r e s e m b l a n c e is not a m e c h a n i c a l reproduction but an interpretation
that translates for the eyes the image of an object so that the spirit
imagines it w i t h the aid of the m e m o r y . " I n d e e d , it w a s the strength of
the picture's interpretation that made the image m o r e a likeness ot the
subject than the subject himself. 'Let us not be afraid to affirm that,
materially s p e a k i n g , the c o p y of a figure is s u s c e p t i b l e of s e i z i n g a
spectator b y the p o w e r of i h e interpretation m o r e vividly than e v e n the I n t e r p r e l a t i o n m u s t always be a c o m b i n a t i o n of k n o w l e d g e and intu-
reality c o u l d under certain c i r c u m s t a n c e s . ' 8 ition, and the most effective intuitiveness is largely based o n well-
The c o n c e p t of the interpretative portrait, the portrait that c a p t u r e s integrated p r e - k n o w l e d g e . Nadar had to k n o w the sitter w e l l i n o r d e r
s o m e t h i n g of the inner personality of the sitter, has b e e n central to the to do a portrait that p l e a s e d him. T h e most d r a m a t i c S o u t h w o r t h and
p h o t o g r a p h i c tradition. S i n c e the 1840's a n d 1850's, most p h o t o g r a p h e r s H a w e s d a g u e r r e o t y p e portrait is that of Massachusetts C h i e f Justice
and critics w h o h a v e d i s c u s s e d their ideas ol portraiture have stressed L e m u e l S h a w bathed in an almost theatrical o v e r h e a d light and taken in
this c o n c e p t . T h e F r e n c h p h o t o g r a p h e r Nadar stated simply that 'the a m o m e n t of aesthetic inspiration w h i l e the C h i e f Justice w a s e n t e r i n g
portrait I d o best is that of the man I k n o w the best."' T h e A m e r i c a n I h e studio. S o u t h w o r t h himself later stated that
critic A . ). A n d e r s o n w r o t e i n 1910: ' T h e gift of character r e a d i n g is what is to be done is obliged to be done quickly. The whole char-
essential in the portrait p h o t o g r a p h e r ; and o n c e the sitter's c h a r a c t e r is acter of the sitter is to be read at first sight; the whole likeness, as it
d i s c o v e r e d , it is no bad plan to try and photograph s o m e p r e d o m i n a n t shall appear when finished, is to be seen at first, in each and all its
quality in the a b s t r a c t . I t d e p e n d e d to a great d e g r e e o n the particular details, and in their unity and combinations . . . in the result there
p h o t o g r a p h e r w h e t h e r or not he felt that his interpretation of t h e sitter is to be no departure from truth in the delineation and representa-
was just or c o m p l e t e . W h i l e s o m e p i c t u r e m a k e r s of the last c e n t u r y tion of beauty and expression, and character."
strongly b e l i e v e d that they c o u l d d i s c e r n the true inner personality of N e w m a n admits thai intuition plays an important part in his photo-
the individual p o r t r a y e d , most photographers have admitted that theirs graphic t e c h n i q u e :
is but a single a n d i n c o m p l e t e analysis. Strictly speaking, we should know as much as possible about the
person from many sources; if he's well known, we may get the
At the heart of N e w m a n ' s portraiture is the idea of the interpretative information from the printed page; if he's not well known, w e may
r e n d e r i n g of the p e r s o n a l i t y . Not only is this concept q u i t e obvious in find it by visiting him and talking to friends and associates and
Ihe images t h e m s e l v e s , but N e w m a n has also d i s c u s s e d at length his going out to lunch or dinner beforehand, and so forth. This natu-
beliefs o n the s u b j e c t : rally helps, but sometimes - and every professional has this problem
I'm convinced thai any photographic attempt to show the complete once in a while - the man walks in on you cold, or you must walk in
man is nonsense, to an extent. We can only show, as best w e c a n , on the man and his environment cold. In that case, you have only
what the outer man reveals; the inner man is seldom revealed to your intuition and the background of experience you have amassed
anyone, sometimes not even to the man himself. We have to inter- over the years to help you make the judgements.''
pret, but our interpretation can be false, of course. We can impose T h e personality of a siller is never static, and N e w m a n believes that
our own feelings upon a man. and these feelings can do him a great there is no s u c h p h e n o m e n o n as a c o m p l e t e portrait Of an individual.
injustice - w e cannot always be one hundred percent correct I think Each portrait is n o t h i n g m o r e than a r e n d e r i n g of a p e r s o n ' s image at a
one of the greatest tests of the portrait photographer is his intuitive- given point in time. It may p e r h a p s b e inspired a n d r e v e l a t o r y , b u l it
ness, his ability to judge a person, his ability to get along with all reveals a temporally changing c h a r a c t e r at a p r e c i s e location and at a
kinds of people, from a street-car conductor to a prime minister of a specific m o m e n t .
world power, his ability to have sympathy for each man and to It seems to me that no one picture can ever be a final summation of
understand the man he is photographing, to show tact and under- a personality. There are so many facets in every human being that it
standing of the problem the man obviously faces being before the is impossible to present them all in one photograph. When I make a
camera. . . . But, to continue with the concept of interpretation, portrait, I don't take a photograph. I build it, seeking all those
let's contrast photography to painting. A painting is a matter ol graphic elements that will express the most typical common
creative distortion, and photography is a matter of creative selec- denominator of the subject as I see him within the obvious limita-
tion. A portrait photographer, or any photographer for that matter, tions of a single image."
must he selective because he |/s| limited [by the \ material in front
of him. . . Inevitably there is a great deal of the photographer in
Stieglitz a p p r e c i a t e d this p r o b l e m w h e n h e e m b a r k e d o n his twelve-
finished product. . If there isn't much of him, then there isn't year multiple a n d c o m p o s i t e portrait of G e o r g i a O ' K e e f f e , and N e w m a n
mu<' >/ a portrait. In other words, the photographer must be a s o m e w h a t m o r e modestly a c h i e v e d this sort of serial portrait' w i t h Igor
pa•','«? picture. It's a matter of joining forces with the sitter, in a Stravinsky w h e n he p h o t o g r a p h e d the m u s i c i a n first i n 1946 and then
sens'- over a p e r i o d of several m o n t h s in l % 5 for his book Bravo, Stravinsky.

A r n o l d N e w m a n ' s e a r l y art w o r k . T h e s e w e r e d o n e by N e w m a n o u t s i d e o f c l a s s
o r after l e a v i n g t h e U n i v e r s i t y o f M i a m i . 1. Gambler, o i l o n b o a r d , 1937.
N e v e r t h e l e s s , what is important to the formulation of a portrait,
w h e t h e r it is a portrait over a length of time or a single portrait at a
given i n s t a n c e , is the distillation of what exactly c o n n o t e s and d e n o t e s
the p e r s o n p o r t r a y e d . N e w m a n calls it the c o m m o n d e n o m i n a t o r of
the s u b j e c t ' ; few have p h r a s e d it more aptly. His portraits, like all
r e f i n e d and a c c o m p l i s h e d portraits in any m e d i u m , have s e l d o m , o n e
s e n s e s , failed to achieve this distillation.
A R N O L D N E W M A N was b o r n in N e w Y o r k City o n M a r c h 3, 1918, the
s e c o n d of three s o n s of Freda a n d Isidor N e w m a n . , s Isidor had b e e n in
the c l o t h i n g m a n u f a c t u r i n g b u s i n e s s , but after this c o n c e r n failed in t h e
early 1920's, the family m o v e d to Atlantic City, w h e r e Isidor started a
dry-goods b u s i n e s s . L i k e m a n y other small family b u s i n e s s e s , the N e w -
m a n s w e n t under b e c a u s e of the 1929 stock m a r k e t c r a s h . As a result,
the father t u r n e d to leasing small hotels serving the tourist trade of
A t l a n t i c City a n d Miami B e a c h . T h e family d i v i d e d their r e s i d e n c e
b e t w e e n A t l a n t i c City in the s u m m e r and Miami B e a c h d u r i n g the
w i n t e r . T o this day A r n o l d N e w m a n attributes m u c h of his compatibility
and fascination w i t h people to his early e x p e r i e n c e s i n a n d a r o u n d the
hotel e n v i r o n m e n t .
At about the a g e of t w e l v e , he began displaying a m a r k e d aptilude for
art w h i c h his parents e n c o u r a g e d , an e n c o u r a g e m e n t , it s h o u l d be
ix
4
2. Self-Portrait, g r e a s e p e n c i l d r a w i n g , 1938. 3. Street at Dusk, grease pencil
d r a w i n g , A t l a n t i c C i t y , 1936. 4 . Dancer, C o n t e c r a y o n , 1938
stressed, entirely unusual d u r i n g the D e p r e s s i o n era. Graduating from
Miami B e a c h High S c h o o l i n 1936, he was offered an art scholarship and
matriculated at the University of M i a m i , then a relatively small institu-
tion of about 750 s t u d e n t s . N e w m a n received w h a t a m o u n t e d to a
work-study scholarship w h i c h i n c l u d e d the duties of h i r i n g m o d e l s ,
organizing classes, p a i n t i n g s c e n e r y for the University's theater, and
e x e c u t i n g a patio design for the s c h o o l .
N e w m a n c o n t i n u e d his art studies from 1936 to 1938, d u r i n g w h i c h
time he met as a fellow m e m b e r of his e t c h i n g class David Douglas
D u n c a n , later to b e a r e n o w n e d M a g n u m photojournalism H e studied
under the 'realist' artists D e n m a n Fink and R i c h a r d M e r r i c k . His art
w o r k d u r i n g this p e r i o d look o n c e r l a i n distinct qualities of twentieth-
century A m e r i c a n realist painting, s u c h as the rustic urban s c e n e s of
John Sloan or t h e forlorn, n o c t u r n a l urban images of Everett S h i n n and
C h a r l e s B u r c h f i e l d , the latter's w o r k having had a direct influence o n
N e w m a n . T h e f e w pieces r e m a i n i n g are good e x a m p l e s of 1930's stu-
dent realism, but what is m o r e pertinent is that they s h o w at t h e start of
his c a r e e r as a visual artist that N e w m a n gravitated to the e l e m e n t s of
realism and the data of everyday life - e l e m e n t s crucial to his photog-
raphy later.
E c o n o m i c imperatives forced N e w m a n to quit s c h o o l in 1938, and he
m o v e d to Philadelphia to accept his first real job possibility. T h e offer
 Arnold N e w m a n o n location:

1. Georges Draque's atelier, Normandy,

F r a n c e , for Holiday m a g a z i n e , 1956.
P o r t r a i t f r o m t h i s s i t t i n g o n p a g e 89.

2. Edward Kienholz. Los Angeles, o n

a s s i g n m e n t for Look m a g a z i n e , 1967.
Portrait f r o m t h i s s i t t i n g o n p a g e 178.

3. Chancellor Konrad Adenauer. In t h e

Chancellery, Bonn, Germany, on
a s s i g n m e n t f o r Life m a g a z i n e , 1954.
Portrait f r o m this s i t t i n g o n p a g e 81.

4. President Lyndon B. lohnson. Photog-

r a p h y f o r J o h n s o n ' s O f f i c i a l Portrait,
t h e W h i t e H o u s e , 1 9 6 3 . Portrait f r o m
this s i t t i n g o n p a g e 133.

5. President John f. Kennedy. The White

H o u s e l a w n , o n a s s i g n m e n t for Holi-
day m a g a z i n e . ( P i e r r e S a l i n g e r o n left.)
P o r t r a i t f r o m this s i t t i n g o n p a g e 132.

6. Picasso's atelier, V a l l a u r i s , H a n c e ,
1954. P o r t r a i t f r o m t h i s s i t t i n g o n
p a g e 73.
c a m e from Leon A . P e r s k i e , a professional photographer a n d friend of of the Farm Security Administration, principally those of Walker
the family. In a letter to N e w m a n ' s father, Perskie w r o t e : Lvans, whose book was my most constant reference source during
Relative to our conversation, I would like your son Arnold to report this period.
to work in Lit Brothers, Philadelphia, Pa. at the Photo Dept. on the My job was a blessing in disguise. I had to make forty-nine-cent
3rd floor, Monday, Sept. 19th. . . . You understand that in as much
portraits, but before I was allowed behind the camera, I had to
as he will be working as an apprentice, I cannot give you or him any
know every phase of the darkroom and know the use and meaning
assurance as to how steady the job will be. If his work is satisfactory
of every chemical that lined its shelves. A chemical mixture did not
and he takes to photography, I will keep him on, but if he does not
merely do something-l had to understand why and how.
interest himself and learn what has to be learned he will be of no
I worked for over a year for this commercial chain in Philadel-
use to me.16
phia . . . in Baltimore and for a while in Allentown, Pennsylvania,
N e w m a n took the job a n d proved himself capable of both learning exploring the cities and photographing on my own as I traveled.17
the trade and interesting himself in the craft. N e w m a n had thought that Perskie o w n e d and operated several studios or c o n c e s s i o n s in depart-
h e w o u l d be a b l e to c o n t i n u e his art studies at night in Philadelphia but
ment stores and drugstores in A l l e n t o w n , Philadelphia, and Baltimore.
his c o n c e r n for them began to suffer as he had d e v e l o p e d a m a r k e d
Between 1938 and the a u t u m n of 1939 N e w m a n w a s m o v e d at various
interest in photography as well as in contemporary art. His n e w inter-
times a m o n g these locations. Dissatisfied with the s o m e w h a t transient
ests w e r e aided by his involvement a n d friendship with a group of
nature of the j o b , N e w m a n quit and accepted a job offer to manage a
student artists at the Philadelphia School of Industrial Arts. T h e s e w e r e
T o o l e y - M y r o n Studio in W e s t Palm Beach, Florida, in D e c e m b e r of 1939.
students of Alexev Brodovitch. art director of Harper's Bazaar, and
The studio was o n e of a c h a i n of c o u p o n portrait studios and N e w m a n
i n c l u d e d Ben Rose, w h o m N e w m a n had already met in Atlantic City as
his Boy Scout patrol leader a n d w i t h w h o m he w a s staying in Philadel- r e m a i n e d w i t h it until his move to N e w York in 1941.
phia, and Sol M e d n i c k ; both have prominently figured in editorial a n d Nearly all of N e w m a n ' s photographs from 1938 and 1939 exhibit those
c o m m e r c i a l photography since. elements of pictorial c o n c e r n h e incorporated in his student art w o r k :
realism, g e n r e subjects, a n d the d e p r e s s i n g face of the urban land-
At Perskie's studio, N e w m a n had to photograph up to seventy sub- scape. M u c h of this sensibility came from his academic training, m o r e
jects a day and w a s paid sixteen dollars a w e e k . But h e photographed out of the physical d e m a n d s of the D e p r e s s i o n . It is little w o n d e r that
i n d e p e n d e n t l y on his time off and found that his painting w a s soon the photographs of the Farm Security Administration, headed by Roy
supplanted by this n e w m e d i u m . D e s c r i b i n g his early days, N e w m a n
Stryker, attracted him a n d caused s u c h an impression o n him. ' T w o
states:
M e n on Front Porch' (West Palm Beach 1940), page 4, may w e l l have
During lunch hours and weekends, I carried my borrowed camera (a b e e n printed for Stryker's historical g r o u p ; it has the same formalism
2'A x 3 V« C o n f e s s a Nettle that belonged to my uncle) and tripod and immediacy as an Evans picture a n d the same d e m a n d for humanis-
into the streets of Philadelphia, mostly around the area of the Lit
tic sympathy as o n e by D o r o t h e a Lange. N e w m a n later met Stryker in
Brothers Department Store, where I worked. At nights, having been
the w i n t e r of 1941 with the idea of joining Stryker's group o n l y to be
granted special permission, I would work on my own photographs
told that it w a s breaking up. ( N e w m a n eventually did w o r k w i t h Stryker
in the studio darkroom until midnight or later.
in 1952 for the Jones and Laughlin Steel C o m p a n y of Pittsburgh.) Com-
I began to experiment in photographic abstractions as well as p a r i s o n s might also be m a d e b e t w e e n these early images of the late
social realism. I became fascinated with the control of the camera 1930's and the w o r k s of Aaron S i s k i n d , Morris Engel, and the o t h e r New
and the ability to make it see as I saw. The examination of one pack
York photographers w h o w o r k e d on 'The Harlem D o c u m e n t ' d u r i n g the
of film was enough to make me realize that I had to stop looking as
same p e r i o d , a l t h o u g h N e w m a n w a s u n a w a r e of these pictures.
a painter and try to examine in terms of the camera's eye. I read and
N e w m a n visited New York in the s u m m e r of 1939 a n d met for the first
looked up everything I could find on photography, going back to its
l i m e the photographer and gallery dealer Alfred Stieglitz. N e w m a n ' s
beginnings as well as studying the work of contemporary photogra-
diary gives an account of that e n c o u n t e r :
phers. My friends produced material from their libraries and gave
I walked into Stieglitz'gallery, 'An American Place,' at 509 Madison
freely of their advice and time. I went to museums and bought and
clipped [usee/] magazines like Vanity Fair, a strong influence on Avenue, with only a few months of photographic experience
me. However, the biggest impression was made by the photographs behind me and no photographs under my arm. Confronting me was
the man himself, wearing a woman's apron as he was doing some
i

P e r s o n a l p h o t o g r a p h s . 1. Paris, 1960, (left t o r i g h t ) M a x E r n s t , J u l i e t Ray ( M r s . N e w m a n . 2. Dinner al Kewman home, 1966, (left to right) M r s . M a r c c I D u c h a m p ,
M a n Ray), Francois Baron, D o r o t h e a T a n n i n g (Mrs. Frnst), M a n Ray, A r n o l d l e a n Stein V a n d e n H e u v e l , Igor Stravinsky, A u g u s t a N e w m a n , M a r c e l D u r h a m p ,

printing of his work. I asked to see some prints, none of which deserve his criticism. He said he would and I floated out the door.,<l
were on the walls, and he allowed an assistant to show them to me. N e w m a n c o n t i n u e d to support himself i n c o m m e r c i a l , 'small-studio'
I will never forget my first impression of Stieglitz - it was dominated portraiture w h i l e maintaining an output of his personal photography.
by the vision of a tremendous amount of hair growing out of his T h e i n c r e a s e d salary of thirty dollars a w e e k he e a r n e d at the Tooley-
ears. Such is one's first thought when meeting, face to face, one of M y r o n S t u d i o a l l o w e d h i m to buy a four-by-live-inch press c a m e r a , a n d
his idols. in his spare lime he devoted h i m s e l l lo s h o o t i n g and printing his o w n
Later, Stieglitz himself came in to see what I was taking so much p i c t u r e s . T h o u g h m a n y of the images I r o m this p e r i o d reflect a contin-
time for, and remained to talk about photography with me. We uation of his pictorial themes and s u b j e c t s from those of the late 1930's,
decried the overemphasis on lab technique, though its importance the u s e of a larger format c a m e r a infuses them w i t h a m u c h greater
we did not deny. The grand old man then mentioned something I r e s o l u t i o n , clarity, and r e f i n e m e n t of c o m p o s i t i o n . A clear e x a m p l e of
have heard him repeat on later meetings - 7 don 7 care what you did this w o u l d b e a c o m p a r i s o n b e t w e e n ' C o n v i c t Sign' ( P h i l a d e l p h i a 1938)
or h o w you did it, I'm only interested in the finished picture.' Then and B i l l b o a r d s ' ( W e s l Palm B e a c h 1940). II is also d u r i n g Ihis p e r i o d that
he took me into his little dark room. I shall never forget it. Three N e w m a n began his cut-out images and s h a p e d photographic assem-
trays with the shelves stocked with what he said could be bought in
blages, a private c o n c e r n of his that h e revived some twenty-five years
any drug store. No tricks. Imagine my excitement as I recognized
later, as s e e n in his 1966 portrait of Yaacov Agam (p. 183). W i t h at o n c e
prints in the hypo that were f,imiliarto me. One was of O'Keeffe's
an almost Dada i r r e v e r e n c e for t h e concept of the straight print and a
hands, another of a girl sitting at a table near a window with a
constructivist's p e n c h a n t for c l a s s i c i z i n g design formulations, N e w m a n
striped pattern of light on the wall behind her made by the shadows
p r o d u c e d a series of c o m p l e t e l y modernist and entirely u n e x p e c t e d
of the blinds. He explained that the Museum of Modern Art wanted
images.
him to give a one-man show but that he was doubtful as his health
was failing. When I left, I asked him if he would look at my work O n another trip to N e w York in J u n e 1941, N e w m a n met B e a u m o n t
sometime. I said that I thought my work was of sufficient interest to N e w h a l l , C u r a t o r of Photography at the M u s e u m of M o d e r n A r t . O n the
same trip, a n d at N e w h a l l ' s instigation, N e w m a n paid another visit to

xii
R o b e r t C r a f t , M a d a m e S t r a v i n s k y . 3. Newman home, 7962. (left l o right) C h a i m 4. C/aes Oldenburg's New Haven studio, 1969, C l a e s O l d e n b u r g a n d A r n o l d
Gross, Marilyn M o n r o e . Augusta N e w m a n , Carl Sandburg, Renee Gross. N e w m a n . 5. Paris, 1954, M a r c C h a g a l l , A r n o l d . Eric, A u g u s t a , a n d D a v i d N e w m a n .

Stieglitz, w h o i n t u r n v i e w e d N e w m a n ' s p h o t o g r a p h s a n d this t i m e stronger feeling about not just setting it up. . . . There wasn't any
e n c o u r a g e d h i m . H e also m e t D r . Robert Leslie of A-D m a g a z i n e a n d kind of conscious effort to put this thing together graphically . . .
t h e A - D G a l l e r y , t h e n t h e o n l y significant gallery outlet for editorial or or any experiment in portraiture
p h o t o g r a p h i c art w o r k in N e w Y o r k . Leslie offered N e w m a n a joint N e w m a n a p p l i e d this c o n c e p t to those he k n e w or got to k n o w , a n d
e x h i b i t i o n w i t h B e n R o s e , w h i c h o p e n e d i n S e p t e m b e r of the s a m e in the w i n t e r of 1941 h e b e c a m e a c q u a i n t e d with N e w Y o r k painters a n d
y e a r . T h e p r i n t i n g a n d p r e p a r a t i o n for I h e s h o w took place in W e s t P a l m sculptors.
B e a c h , w h i l e N e w m a n t e r m i n a t e d his e m p l o y w i t h the T o o l e y - M y r o n I had been thinking for more than a year in terms of visual ideas,
S t u d i o after h a v i n g d e c i d e d to m o v e to N e w Y o r k . T h e A - D G a l l e r y and it was comparatively easy for me to conceive of various visual
e x h i b i t i o n w a s w e l l r e c e i v e d by the p r e s s and was visited by many themes related to the individual painters. The work of many of
c r i t i c s , art d i r e c t o r s , a n d p h o t o g r a p h e r s , i n c l u d i n g A n s e l A d a m s . S o o n these men had influenced my own thinking and way of seeing, and
a f t e r w a r d , N e w h a l l a n d A d a m s p u r c h a s e d o n e of the N e w m a n photo- it was a marvelous opportunity to meet them.2'
g r a p h s I r o m the s h o w for the M u s e u m ' s p e r m a n e n t c o l l e c t i o n , the first A few days after the o p e n i n g of his e x h i b i t i o n , N e w m a n w e n t to p h o t o -
of m a n y m u s e u m a c q u i s i t i o n s . ' It was p r i n c i p a l l y this e x h i b i t i o n , t h e n , g r a p h the painter Reginald M a r s h . M a r s h w a s not in his studio but
that l a u n c h e d N e w m a n ' s c a r e e r as a p r o f e s s i o n a l p h o t o g r a p h e r . Raphael S o y e r ' s w a s o n the s a m e floor a n d Soyer b e c a m e the first of
w h a t N e w m a n c a l l s his ' e x p e r i m e n t a l s u b j e c t s . ' Soyer i n t r o d u c e d h i m to
N e w m a n h a d m o v e d to N e w York at the time of the o p e n i n g of this
o t h e r p a i n t e r s in N e w Y o r k a n d N e w m a n has b e e n p h o t o g r a p h i n g
e x h i b i t i o n . B e t w e e n that w i n t e r a n d the s p r i n g of 1942 he utilized his
artists ever s i n c e .
c o m m e r c i a l p h o t o g r a p h i c training by taking portraits a n d a d v e r t i s i n g
still lifes to c o m p r i s e w h a t a m o u n t e d to a p o r t f o l i o . But it w a s the In the a u t u m n of 1942, N e w m a n r e t u r n e d to M i a m i B e a c h for i n d u c -
p o r t r a i t u r e that i n v o l v e d h i m the most a n d n o w he had greater p e r s o n a l tion into the U n i t e d Slates A r m y . R e c e i v i n g a t e m p o r a r y d e f e r m e n t , he
c o n t r o l o v e r t h e p i c t u r e . T h e idea lhat h e c o n c e p t u a l i z e d at this t i m e , r e m a i n e d i n F l o r i d a a n d o p e n e d a portrait s t u d i o that e x p a n d e d s o
I h e idea that w a s to b e I h e basic n u c l e u s of his future w o r k , was rapidly that by the e n d of the w a r h e w a s e m p l o y i n g m o r e than n i n e
to take pictures of people in their natural surroundings with a little p h o t o g r a p h e r s a n d assistants. H e n o w f o u n d himself d e b a t i n g b e t w e e n

xiii
c o n t i n u i n g w i t h this potentially lucrative b u s i n e s s , and risking his
c a r e e r in the u n c e r t a i n t i e s of N e w Y o r k . That h e did finally c h o o s e to
m o v e back n o r t h w a s in part p r e d i c a t e d by the success of his s e c o n d ,
this time o n e - m a n , e x h i b i t i o n , Artists Look Like T h i s , ' w h i c h was held
at the e n d of 1945 at the Philadelphia M u s e u m of Art. T h e e x h i b i t i o n ,
c o n s i s t i n g of portraits of artists living mostly in the N e w Y o r k area that
N e w m a n had made d u r i n g the w a r years o n v a r i o u s visits, w a s r e c e i v e d
e x t r e m e l y w e l l . T h e Philadelphia M u s e u m of Art p u r c h a s e d the sho\v
a n d transported it to other locations; it was also r e v i e w e d in Life and
t h e New York Times, a m o n g other p u b l i c a t i o n s .
M o v i n g to N e w Y o r k in 1946, his first, a l t h o u g h temporary, studio w a s
o n Fitty-se\'enth Street. It was here that he w o r k e d o n assignments for
A l e x e y B r o d o v i t c h . N e w m a n feels, a n d correctly so, that it w a s at this
point that his p r o f e s s i o n a l c a r e e r firmly b e g a n ; it is l i k e w i s e t r u e that
his o p p o r t u n i t i e s also i n c r e a s e d . Late in 1946, at the age of twenty-
e i g h t , h e r e c e i v e d his first assignment from Life, a portrait of the A m e r i -
c a n playwright E u g e n e O ' N e i l l , w h i c h for a youthful photographer w a s
not exactly b e g i n n i n g at the l o w e s t r u n g of the c o m m e r c i a l l a d d e r .
Life a n d Harper's Bazaar were N e w m a n ' s major clients for his first two
years in N e w Y o r k . B r o d o v i t c h . w h o m N e w m a n c o n s i d e r s an i n f l u e n c e
and teacher by o s m o s i s , e v e n entertained the idea of d e v e l o p i n g h i m
into a fashion p h o t o g r a p h e r for the magazine, an idea N e w m a n did not
r e c e i v e v e r y enthusiastically. T h e same year that he met O ' N e i l l , New-
m a n a l s o a c h i e v e d w h a t is perhaps his most f a m o u s portrait: Igor Stra-
v i n s k y at his p i a n o . T h e p i c t u r e w a s shot o n assignment for Harper's
Bazaar but w a s r e j e c t e d by B r o d o v i t c h ; o n e of the most noted photo-
graphic r e j e c t i o n s .
T h r o u g h o u t t h e late I940's N e w m a n ' s pac e of life grew m o r e h e c t i c
and c o m p l e x . H e c o n t i n u e d w o r k i n g o n editorial a s s i g n m e n t s , princi-
pally for Life, r e m a i n e d financially m o d e s t , m o v e d to West Sixty-sev-
enth Street w h e r e he still lives and w o r k s , w a s exhibited at the M u s e u m
of M o d e r n A r t , and married Augusta R u b e n s t e i n . H e had met Augusta
in 1948 w h i l e s h e w a s w o r k i n g for the Haganah in T e d d y K o l l e k ' s N e w
Y o r k office s m u g g l i n g arms to Israel. S i n c e their marriage the f o l l o w i n g
year s h e has r e m a i n e d o n e of his principal s u p p o r t s , acting as a c ombi-
nation s t u d i o assistant, s e c r e t a r y , b u s i n e s s m a n a g e r , and g e n e r a l com-
p a n i o n as w e l l as a wife and m o t h e r to their two sons, Fric and David.
Their life-style together has b e e n o n e of almost constant contact w i t h
artists and the city's cultural milieu. As a large n u m b e r of the painters
S t r a v i n s k y s i t t i n g , N e w Y o r k C i t y , 1946. M a d a m e S t r a v i n s k y is in t h e t o p left print
T h e r e w e r e t w e n t y - s i x 4 x 5 i n c h e x p o s u r e s in t h e s i t t i n g , m o s t l y v a r i a t i o n s o f t h e
t h i r t e e n p r i n t s o n the l a c i n g p a g e . E d g e n o t c h i n g s w e r e u s e d t o i d e n t i f y t h e
n e g a t i v e h o l d e r s . P o r t r a i t s f r o m this s i t t i n g o n p a g e s 39 a n d 40.
a n d s c u l p t o r s N e w m a n has p h o t o g r a p h e d have e x c h a n g e d p i e c e s of
their w o r k w i t h h i m , the N e w m a n s have informally amassed a quite
sizable c o l l e c t i o n . T h e i r residence is a c o n c i s e o u t l i n e of mid-twentieth-
century art, i n c l u d i n g a m o n g other items M o n d r i a n ' s two preparatory
c h a r c o a l s k e t c h e s for Broadway Boogie-Woogie, a small b r o n z e by
H e n r y M o o r e , a de K o o n i n g , an O l d e n b u r g , a R i c k e y , an Indiana. At
least in o n e r e s p e c t , the m e d i u m N e w m a n c h o s e to devote his career to
in t h e late 1930's has a l l o w e d him to s u r r o u n d himself w i t h fine exam-
ples of his first visual love, painting.
Since the 1940's his career has not s l a c k e n e d in the least. From the
1951 o n e - m a n e x h i b i t i o n at the C a m e r a C l u b of N e w Y o r k , an organiza-
tion that had had as m e m b e r s both Stieglitz and t d w a r d S t e i c h e n , to his
large retrospective at the G e o r g e Lastman H o u s e i n 1972, N e w m a n ' s
s c h e d u l e of exhibitions has stayed filled. His professional portraiture
has consistently r e m a i n e d before the p u b l i c v i e w ; from his series of
portraits of the e x e c u t i v e s , c o l u m n i s t s , feature w r i t e r s , a n d critics of the
New York Times, w h i c h was started i n 1951 and s p a n n e d a n u m b e r of
y e a r s , to his c o v e r portraits of artists for Art in America begun i n 1973,
h e has b e e n o n e of A m e r i c a ' s most visible portraitists. In 1968 he
started teaching an a d v a n c e d p h o t o g r a p h y c o u r s e at the C o o p e r U n i o n
in N e w Y o r k , and in 1972 he signed w i t h the Light G a l l e r y . N e w m a n ' s
vitality and e n e r g i e s have never (ailed h i m ; he is as prolific at fifty-six as
h e was w h e n he began his p r o f e s s i o n a l life.
T h e visibility a n d prolificacy N e w m a n has e n j o y e d over the last
q u a r t e r century are not the products of formula and repetition. His
portraits are nearly always c u s t o m - f o r m u l a t e d with the subject as an
active foil, t a c h individual he p h o t o g r a p h s dictates m o r e or less w h a t
the s t r u c t u r e of the picture will be. T h e r e is a rather distinct difference
of style b e t w e e n his portrait ol Piet M o n d r i a n of 1942 and that of M a r c e l
D u t h a m p i n 1966. W h e r e o n e is stark, formal, and rigidly hierarchical in
its d e p i c t i o n , the other is seemingly casual, h u m o r o u s l y angled, and
e c c e n t r i c . It is apparent that the psychological m a k e u p of the various
s u b j e c t s affected the photographer and his way of visualizing the fin-
ished portrait. S i m i l a r l y , the b l a c k , introspective, and w i t h d r a w n aspect
of G e o r g e s Kouault, 1956, is i n m a r k e d contrast to the h a r d , aggressive
a p p e a r a n c e of David Smith in 1957. fcach picture reflects an interpreta-
tion of the i n d i v i d u a l artist's w a y of s e e i n g a n d , of c o u r s e , p r e s e n t i n g
h i m s e l f . T h e temptation e v e n exists to r e a d out pictorial statements of
differing political p h i l o s o p h i e s in the three portraits (and e n v i r o n m e n t s
as symbols) of Presidents T r u m a n in 1960, K e n n e d y in 1961, a n d John-
son in 1963.
T h e capability of the sitter actively to affect the photographer's
a p p r o a c h to his portrait has b e e n a c o m m o n l y u n d e r s t o o d psychologi-
cal relationship. T h e 'facile' portraitist will a l l o w the subject to com-
 m a n d the entire pit l u r e f r o m c o n c e p t i o n to r e t o u c h e d print. T h e m o r e
artistically e x c e p t i o n a l p h o t o g r a p h e r w i l l use this potential as a catalyst
to e n e r g i z e his o w n c o n c e r n s and sensibilities. T h e m o r e c o n s c i e n t i o u s
h e is, the m o r e the f i n i s h e d print w i l l be a p r o d u c t of his o v e r r i d i n g yet
r e c e p t i v e c o n t r o l . N e w m a n ' s c o m p l e t e c o n t r o l over the p h o t o g r a p h is a
p r e r e q u i s i t e to his art, y e t this c o n t r o l is not o n e of force or affect. H e
a l l o w s the s u b j e c t to p l a c e himself and t o relax into characteristic pos-
tures w i t h a m i n i m u m of d i r e c t i o n and c h o r e o g r a p h y ; often h e w i l l
s p e n d p r e l i m i n a r y sessions c o n v e r s i n g w i t h the subject s o that his self-
c o n s c i o u s n e s s w i l l be d i m i n i s h e d . N e w m a n ' s role as portraitist is simply
to select the a p p r o p r i a t e s u r r o u n d i n g s and details and to lead the sitter
gently t o w a r d a potentially significant relationship w i t h his e n v i r o n m e n t
as w i t n e s s e d t h r o u g h N e w m a n ' s interpretation.
H e leaves little to c h a n c e , infrequently a l l o w i n g for a post-visualized
a c c i d e n t . A s m u c h a produc t of his design and art training as his tem-
p e r a m e n t , N e w m a n ' s e x q u i s i t e c o n t r o l is deliberately o b v i o u s at times.
T h e g e o m e t r i c p r e c i s i o n of his 1953 portrait of H a r r y S c h w a r t z , the
s e n s u o u s a n d enigmatic r e n d e r i n g of Jean A r p , 1949, and the mechani-
cal e m p t i n e s s of the T r o v a portrait ot 1971 are all p r o d u c t s of a con-
structivist a n d intellectual c o n t r o l ol the i m a g e . Even the so-called 'acci-
d e n t a l / surreal s h a p e of t h e s m o k e from Max Ernst's cigarette in his
1942 portrait appears"almost as a p r e - p l a n n e d product of design. N e w -
man c o n s t a n t l y m a i n t a i n s a v i s u a l d o m i n a t i o n of every aspect of his
p i c t u r e : the s e t u p , lighting, c r o p p i n g , a n d printing values. In his o w n
m a n n e r h e is as m e t i c u l o u s about the overall design and the details of
his p i c t u r e s as o n e of his favorite painters, M o n d r i a n , was about his
compositions.
A r n o l d N e w m a n has practically d e f i n e d and e s t a b l i s h e d the twen-
tieth-century e n v i r o n m e n t a l portrait in A m e r i c a . W h e n he began por-
traiture there was no m a j o r p h o t o g r a p h y b e i n g d o n e in this m o d e . H e
recalls h a v i n g b e e n e x c i t e d by the portraits of Stieglitz, S t e i c h e n , and
M a n Ray, all of w h o s e w o r k h e saw at t h e M u s e u m of M o d e r n A r t , but
n o n e of t h e m e m p h a s i z e d a primary c o n c e r n for situating the s u b j e c t
w i t h i n an e n v i r o n m e n t a l f r a m e w o r k . W a l k e r Evans' w o r k , as w e l l as that
or other TSA p h o t o g r a p h e r s , i n f l u e n c e d his ideas but almost solely in
t e r m s of their p o w e r of pictorial interpretation and sensitivity to their
s u b j e c t s . N e w m a n l e a r n e d most of his craft in a rather ordinary portrait
s t u d i o a n d a p p l i e d his training in art and his aesthetic s e n s e to t h e
c r e a t i o n of his portraits.
P i c a s s o s i t t i n g , V a l l a u r i s , F r a n c e , 1954. T h i s is a s e l e c t i o n f r o m a b o u t e i g h t y 4x5
i n c h e x p o s u r e s , a n e x c e p t i o n a l l y l o n g s e r i e s for N e w m a n . In the e a r l y d a y s h e
n o r m a l l y m a d e e i g h t to t w e l v e e x p o s u r e s . L a t e r a n a v e r a g e s i t t i n g w o u l d c o n s i s t o f
t w e n t y to forty p h o t o g r a p h s . Portrait f r o m this s i t t i n g o n p a g e 73.
XVII
N e w m a n ' s w o r k is d e c i d e d l y w i t h i n the tradition ot photographic por-
traiture as it has d e v e l o p e d for over a c e n t u r y . In m a n y w a y s there are
similarities b e t w e e n N e w m a n ' s ' c o m m o n d e n o m i n a t o r of the s u b j e c t '
and the sense of personality i n h e r e n t i n an early d a g u e r r e o t y p e por-
trait. Forced t o r e m a i n p o s e d , u s u a l l y c l a m p e d to a head rest for inde-
terminable lengths of time, t h e sitters for these simple portraits c o u l d
not affect a d e l i b e r a t e e x p r e s s i o n or e x t r e m e g e s t u r e ; their principal
i m p e r a t i v e w a s to not m o v e . T h e result was an often b l a n k , s o m e t i m e s
g r a v e c o u n t e n a n c e that gave the image representational h o n e s t y and a
f u n d a m e n t a l , basic l i k e n e s s . N e w m a n has c o m m e n t e d o n this effect o n
m o r e than o n e o c c a s i o n , and p e r h a p s it was precisely this effect that
led H a w t h o r n e ' s H o l g r a v e to his exaggerated c o n c l u s i o n . B u t w h e r e a s
the n i n e t e e n t h - c e n t u r y p h o t o g r a p h e r , w h e n he thought about the art of
his m e d i u m , b a s e d his aesthetics largely o n t h o s e ot the allied pictorial
arts, N e w m a n is e n t i r e l y in line w i t h twentieth-century photographic art
theory.
W e must s e e our subjects through the camera and not through the
eyes of one who thinks in terms of another medium. . . . The sub-
ject of a photographic portrait must be envisioned in terms of sharp
lenses, fast emulsions, textures, light and realism. He must be
thought of in terms of the twentieth century, оI houses he lives in
and places he works, in terms of the kind of light the windows in
these places let through and by which we see him ever)' day. We
must think of him in the way he ьits and the way he stands in
everyday life, not just when he is before the camera. This is think-
ing in terms of photography. We are perhaps not consciously pro-
ducing an art form, but in clear thinking, at least we are creating,
not imitating
T h i s l i n e of thought is thoroughly b o u n d to the m o d e r n i s t stance that
the craft's intrinsic imperatives are paramount to t h e fabrication of the
c o m p l e t e w o r k . If is this s t a n c e , fervently c h a m p i o n e d by Stieglitz ear-
lier i n the c e n t u r y , that has d e t e r m i n e d t h e framature of most t w e n -
tieth-century c r e a t i v e p h o t o g r a p h y . Throughout his career as a photog-
r a p h e r , N e w m a n has rigidly a d h e r e d to this line of thought. H e has
a d h e r e d to it, but he has not just p r o d u c e d a n u m b e r of artistically
g l a m o r o u s photographic portraits. H e has also, a n d this must be
stressed, c o m p i l e d a veritable c o m p e n d i u m of significant iconographies
that at o n c e both c o u n t e r s a n d c o m p l i m e n t s his a c h i e v e m e n t as an
artist. H i s portraits are excellent portraits w h a t e v e r o n e ' s criteria of
a e s t h e t i c j u d g m e n t ; they are at the s a m e time an e n c y c l o p a e d i c index
to the l i k e n e s s e s of important personalities. It w o u l d be moot to ques-
tion w h e t h e r o n e or the other role will take p r e c e d e n c e in any f u t u r e
c o n s i d e r a t i o n of N e w m a n ' s w o r k to date. B o t h factors have w o r k e d i n
mutual d e p e n d e n c e toward the realization of his art, and both will
 NOTES
c o n t i n u e to b e s e r i o u s l y e n l e r l a i n e d a s c o m m e n t s o n t h e h i s t o r y of t h e
period.
I Helmut and Alison Gernsheim. The History of Photography from the Camera Obscura lo
N e w m a n s e e s h i s p h o t o g r a p h y i n t h e m e t a p h o r i c g u i s e of graffiti o n
the Beginning of the Modern fra. New York, 1969, p. 2 34.
t h e w a l l s o f t i m e s i g n i f y i n g t h a t h e w a s h e r e , as p e r s o n a l i z e d v e r i f i c a -
tions of e x i s t e n c e . Like e v e r y sensitive a n d a c c o m p l i s h e d p h o t o g r a p h e r , 2. William Henry Fox Talbot, The Pencil of Mature. London. 1844-1846. text adjoining plate
XIV.
e s p e c i a l l y portrait p h o t o g r a p h e r , N e w m a n has f o r m u l a t e d a series of
3. C u e d in Charles Reynolds, unpublished ms. on Arnold Newman, collection of Arnold
signatured notational marks recording the e p h e m e r a l quality of expres-
Newman.
s i o n a n d d i s t i l l i n g , in his f a s h i o n , a f o r m a l i z e d v i e w of a single facet of a
4. Ibid., p. 40.
p e r i o d t h r o u g h t h e a p p e a r a n c e s of its p a r t i c i p a n t s . T h a t h e h a s
r e c o r d e d is b e c a u s e h e is a p h o t o g r a p h e r ; t h a t h i s p i c t u r e s a r e c o n - 5. Arthur Schopenhauer, 'Physiognomy.' in Religion: Л Dialogue and Other lisays, edited
s t r u c t e d s o e l o q u e n t l y a n d m e a n s o m u c h a e s t h e t i c a l l y is b e c a u s e h e is and translated by T. Bailey Saunders. London, n.d.. p. 75.

a n artist. 6. Nathaniel Hawthorne. The House of the Seven Cables, Boston, I9G4, p. 81.

7. Francis Wey. "Theorie du portrait.' la Lumlere. I annee, no. 12 (27 April 10511, p.4b,COl- J.

8. Ibid,, p. 46, со». 2

9. Cited by Andri* Jammes and Robert Sobieszek, french Primitive Photography. New York,
1970.
10 A |. Anderson, The Artistic Side of Photography in Theory and Practice, London, 1910, p.
319.

II Arnold Newman and Arthur Goldsmith, A Popular Photography Tape Interview: Arnold
Newman on Portraiture.' Popular Photography, vol. 40, no. 5 (May 1957), pp. 125-126.
Additions in | . . . I signify posf hoc emendations by Newman.

12. Cited in Beaumont Newhall, The Dagoerreotype in America. New York. 1961, p. 44.

Y a a c o v A g a m s i t t i n g , N e w Y o r k C i t y , 1966. T h e first f o u r p r i n l s h a v e b e e n 1.3. Newman and Goldsmith, op. til., p 126.

s e l e c t e d f r o m t h e 3 5 m m v a r i a t i o n s m a d e by N e w m a n . T h e f o u r t h print w a s u s e d 14. Reynolds, op. cit.. pp. 9-10.
t o m a k e t h e t w o f o l l o w i n g c o l l a g e s in 1972. T h e f i n a l c o l l a g e is r e p r o d u c e d a g a i n
15. Much of Ihe biographical information has been obtained from Reynolds, op. cit.. and
o n p a g e 183.
from conversations with Newman

16. letter Irom Leon A. Perskie to Isidor Newman. September 13. 1938. collection of Arnold
Newman,
17. Cited in Reynolds, op. cit., p. 18. Addition in | . . . | signifies a post hoc emendation by
Newman. •

18. Ibid., pp. 20-21.

19 In a letter from Adams to Newman dated September 25, 1941, collection ol Arnold
Newman, Adams states: I was vastly pleased with your exhibit. Mr. Newhall and I
agreed thai the Museum should purchase o n e of your prints. . . My personal opinions
not c o n c e r n e d with the Museum at all, are most favorable to your work I teel you have
something very real and retreshing to say, and your print quality is gratifying.'

20. From conversations with Newman, autumn 1973.

21. Cited m Reynolds, op. с it., p. 23-

W a r h o l s i t t i n g , N e w Y o r k C i t y , 1973- T h e s e c o l l a g e s w e r e m a d e f r o m t w o 2'Ax2V*
n e g a t i v e s in 1974. T h e final portrait is o n p a g e 189.
22. Newman notes: 'Ren Shahn and I o n c e had a long conversation about a theory of his.
H e though! Ili.it during the long exposures required lor the daguerreotype, the sitter
would have many and ditterent thoughts and these gradually settled the expression
'most typically'' |si< I of the sitter, letter to David R. Godine, undated fwinter 1974).
23. Cited in Reynolds, o p . < it., pp. 37-38.
PORTRAITS AND OTHER PHOTOGRAPHS
1. Mother and child, P h i l a d e l p h i a , 1938
2. Convict sign, P h i l a d e l p h i a , 1938
3. Brick abstract, B a l t i m o r e , 1939
4. Two men on front porch, West Palm B e a c h , 1940
5. Wall and ladders, A l l e n t o w n , Pennsylvania, 1939
6А. Barbershop cutout no. 1, W e s t Palm B e a c h , 1940

6B. Circle, W e s t Palm B e a c h , 1940

7А. Barber shop cutout no. 2, W e s l Palm B e a c h , 1940

7B. Ironing board cutout, Miami B e a c h , 1940

8. Posing bench, W e s l Palm B e a c h , 1941
- - "• ' I ! »

9. Man on a church porch, W e s t Palm Beach, 1941

10. Porch and chairs, W e s t Palm B e a c h , 1940
11. Billboards, W e s l Palm B e a c h , 1940
12. Violins, P h i l a d e l p h i a , 1941
13. Violin patterns, P h i l a d e l p h i a , 1941
14. Violin patterns cutout, Philadelphia, 1941
15. Tree and wall, P h i l a d e l p h i a . 1941
16. Reginald Marsh, O n e U n i o n S q u a r e S t u d i o , N e w York C i t y , 1941
17. Yasuo Kuniyoshi, 14th Street S t u d i o , N e w Y o r k City, 194 !
18. ohn Sloan, C h e l s e a H o t e l S t u d i o , N e w Y o r k C i t y , 1941
19. George Grosz, Bayside, L o n g Island, 1942
20. Joseph Stella, N e w Y o r k C i t y , 1942
21. ar g l , New York City, 194
22. /acques Lipchitz, N e w Y o r k C i t y , 1946
23. a and , New York City, 1942
24. ri' del, New York City, 1942
25. oe and e S e , New York City, 1942
26. Alfred Stieglitz, at 'An A m e r i c a n Place,' N e w Y o r k City, 1942
27. Georgia O'Keeffe and Alfred Stieglitz, New York City, 1942
28. Гегплпс/ Lcgcr, N e w Y o r k City, 1941
29. ie ndri, New York City, 1942
30. Marc Rlitzstein, N e w Y o r k City, 1945
31. a r t , New York City, 1942
32. Leonard Bernstein, City C e n t e r Rehearsal Hall, N e w Y o r k City, 1946
33. Lugene O'Neill, N e w Y o r k C i t y , 1946
34. er a r i e , New York City, 194
35. Dr. I. Robert Oppenheimer, B e r k e l e y , C a l i f o r n i a , 1948
36. Philip Johnson, N e w C a n a a n , C o n n e c t i c u t , 1950
37. Joan Miro, N e w Y o r k City, 1947
38. Heitor Villa-Lobos, N e w York City, 1950
39. Igor Stravinsky, N e w Y o r k C i t y , 1946
41. Frank Lloyd Wright, Taliesin East, W i s c o n s i n , 1947
42. Boy and horse, Atlantic C i t y , N e w Jersey, 1947
43. Boy and dog, A r d e n , D e l a w a r e , 1947
44. Dr. Max Theiler, N o b e l Prize w i n n e r , N e w Y o r k C i t y , 1951
45. Dr. Vannevar Bush, Massachusetts Institute of T e c h n o l o g y , C a m b r i d g e , 1949
46. lohri Marin, Cliffside Park, N e w Jersey, 1947
47. Isamu Noguchi, N e w Y o r k C i t y , 1947
4Й. Grandma Moses, Eagle Bridge, N e w Y o r k , 1949
49. JeanArp, at B u c h h o l z G a l l e r y , N e w York City, 1949
50. lackson Pollock, S p r i n g s , N e w Y o r k , 1949
51. Andrew Wyeth, C h a d d s Ford, Pennsylvania, 1949
52. Meyer Berger, New York Times c o l u m n i s t , N e w Y o r k C i t y , 1951
54. William L. Laurence, New York Times s c i e n c e editor, N e w York City, 1955
55. Harry Schwartz, New York Times Russian e x p e r t . N e w Y o r k City, 1953
56. Boslcy Crowther, New York Times film critic, N e w Y o r k C i t y , 1952
57. Madame Helena Rubinstein, N e w York City, 1948
58. Ben Shuhn, R o o s e v e l l , N e w Jersey, 1951
59. Ben Shahn, a Still Life, Roosevelt, N e w Jersey, 1951
60. Frhard Weyhe in his b o o k s h o p and gallery, N e w Y o r k C i t y , 1952
61. David Hare, s c u l p t o r , P r o v i n c e t o w n , Massachusetts, 1952
63. Josef Albers, N e w Y o r k C i l y , 1952
64 S viator Walter F. George a! his V i e n n a , G e o r g i a , office, 1951
65. Senator Harry F. Byrd at his W i n c h e s t e r , Virginia, office, 1951
66. Vice President Richard M. Nixon, W a s h i n g t o n , D . C . , 1953
67. Dwight О. Eisenhower, President, C o l u m b i a University, N e w Y o r k C i t y , 1951
68. Sen,ill Majority Leader Lyndon 8. Johnson, W a s h i n g t o n , D . C . , 1953
69. Senator Wayne Morse, I n d e p e n d e n t , W a s h i n g t o n , D . C . , 1953
70. Senator Clyde R. Hoey, W a s h i n g t o n , D . C . , 1953
71. lunior Senator from Massachusetts, John F. Kennedy, W a s h i n g t o n , D . C . , 1953
Mberto Ciacometti, Paris, 1954
73. Pablo Picasso, Vallauris, France, 1954
75. Georges Mathieu, Paris, 1954
76. Sir Charles Maclean of Duart, the Isle of M u l l , Scotland, 1954
77. Ian, Duke of Argyll, Inveraray C a s t l e , Scotland, 1954
78. Village priest, T a v a r n u z z e , Italy, 1954
79. Florentine cobbler, F l o r e n c e , 1934
80 i-i.:r,ii(i \hicmillan, H o u s e s of Parliament, L o n d o n , 1954
81. Chancellor Konrad Adenauer, B o n n , 1954
82. Four German Cabinet Ministers, B o n n , 1954
83. Cabinet Minister Jakob Kaiser, B o n n , 1954
84. Giorgio сУе Chirico, R o m e , 1957
85. Pierre Soulages, Paris, 1954
86. Gormaine Richier at her M u s e e d'Art M o d e r n e e x h i b i t , Paris, 1956
87. jacques Villon, Paris, 1957
88. Pablo Picasso, La C a l i f o r n i e , ' C a n n e s , 195b
89. Georges Braque, N o r m a n d y , F r a n c e , 1956
90. Georges Rouauft, Paris, 1957
91. lean Dubuffet, V e n r e , F r a n c e , 1956
92. Jacob Lawrence, B r o o k l y n , 1959
94. David Smith, New York City, 1957
95. Alexander Calder, R o x b u r y , C o n n e c t i c u t , 1957
%. Henry Wallace, South S a l e m , N e w Y o r k , 1956
97. Gilbert Seldcs, N e w Y o r k City, 1956
98. Dr. Hans Selye, M o n t r e a l , 1958
99. Robert Frost, N e w Y o r k C i t y , 1956
100. Dr. Kurt Godcl, Institute for A d v a n c e d S t u d y , Princeton, N e w Jersey, 1956
101. Hanya Holm, c h o r e o g r a p h e r , and son Klaus, N e w York C i t y , 1957
102. Wives and children of the King of the Bakubas, M u s h e n g e , the C o n g o , 1958
103. Воре Mabinshe, King of t h e Bakubas, M u s h e n g e , the C o n g o , 1958
i 04. Charles Mutara III Rudahigwa, King of the W a t u s i , Rwanda, Africa, 1958
106. Georges Duhamel, A c a d e m i e F r a n f a i s e , Paris, 1956
107. Henry Ford II, River Rouge, M i c h i g a n , 1960
108. lewis Mum ford, Philadelphia. 1959
110. Stanley William Hayter. Paris, 1959
111. Curl Sandburg, N e w Y o r k C i t y , 1959
112. Sugar Ray Robinson, N e w Y o r k C i t y , 1960
113. Madame Sergei Koussevitzky, N e w Y o r k C i t y , 1960
114. Otto Frank, A n n e Frank H o u s e . A m s t e r d a m , I960
115. lean Coded и, Paris, 1%0
116. Andre Masson, Paris, 1959
117. Robert Moses, N e w Y o r k C i l y , 1959
118. H a n s Hofmann, P r o v i n c e l o w n , 1959
119. Willem de Kooning, N e w Y o r k C i t y , 1959
120. Frederick Kiesler, arc hitect and s c u l p t o r , N e w York C i t y , 1962
121. Milton Avery, N e w Y o r k C i t y , 1960
122. Fran? Kline, P r o v i n c e t o w n , I960
123. Edward Hopper, I ruro, Massachusetts, 1%0
124. Edwin Dickinson, W e l l f l e e t , Massachusetts, 1960
125. Matta, Boissy S a n s - A v o i r , F r a n c e , 1959
126. Man Kay, Paris, 1960
127. Louis Kahn at his Yale University Art G a l l e r y , N e w H a v e n , 1 % 4
128. lames Jones, Paris, 1961
129. Martha Graham, N e w Y o r k City, 1961
130. Chief Justice Larl Warren, W a s h i n g t o n , D . C . , 1961
131. Prcsidenl Harry S. Truman, N e w Y o r k C i t y , I960
132. President John F. Kennedy, W a s h i n g t o n , D . C . , 1%1
133. President Lyndon В. lohnson (official portrait), the W h i t e H o u s e , 1963
154. 'Five Rebel Senators,' Edmund S. Muskie, Gale McGee, Eugene J. McCarthy,
PhihpA. Hart, Frank £. M o s s , W a s h i n g t o n , D . C . , 1 % 0
135. Secretary of State Dean Rusk, Slate D e p a r t m e n t , W a s h i n g t o n , D . C . , 1 % 2
136. Ambassador Adlai E. Stevenson, U n i l e d Nations, N e w York C i t y , 1962
137. Eleanor Roosevelt, N e w York C i t y , 1 % 2
I ?8. Generalissimo Francisco Franco, El Prado, M a d r i d . I % 4
139. Antonio Bienvenida, T o l e d o , S p a i n , 1964
140. Henry R. Luce, N e w York City, 1%2
141. A!fried Krupp, E s s e n , G e r m a n y , 1963
142. Dr. Frederic de Hoffmann of G e n e r a l D y n a m i c s C o r p o r a t i o n , San D i e g o , 1962
143. Professor Walter Rosenblith, Massachusetts Institute of T e c h n o l o g y , C a m b r i d g e , 1962
144. Arthur Miller, N e w Y o r k C i t y , 1962
145. Marilyn Monroe, Beverly Hills, 1 % 2
14f>. Zero Mostel, N e w York City, 1%2
147. Thornton Wilder, N e w Y o r k C i t y , 1962
148. Billy Wilder, Los A n g e l e s , 1962
149. Harold Rome, N e w Y o r k C i t y , 1961
150. Ayn Rand. N e w York C i t y , 1964
151. Norman Mailer, Provincetown, 1964
152. Dr. Leo Szilard, G e n e v a , 1963
 %

153. Dr. lames Watson, Harvard U n i v e r s i t y , C a m b r i d g e , 1 % 4

154. Kim Stanley, C o n g e r s , N e w Y o r k , 1963
155. Sammy Cahn and Jimmy Van Heusen, Palm Springs, C a l i f o r n i a , 1963
156. Woman of Nazere, Portugal, 1970
157. Igor Stravinsky at rehearsal, N e w Y o r k City, 1 % 6
158. Leonard Bernstein, P h i l h a r m o n i c Hall, N e w Y o r k City, 1%8
159. Lukas Foss, New York City, 1962
И.О. Arnold Tovnbee, L o n d o n , 1968
161. С . P. Snow, L o n d o n , 1966
162. Shefogh Delaney, M a n c h e s t e r , England, 1%1
163. Fran^oise Sagan, Paris, 1968
164. Prime Minister Colda Meir, J e r u s a l e m , 1970
165. David Bcn-Gunon, T e l Aviv, 1 % 7
166. Sir Noel Coward, Les A v a n t s , M o n l r e u x , Switzerland, 1968
167. Yul Brynner inThe Mad Woman ofChaillot, N i c e , F r a n c e , 1968
168. Georgia O'Keeffe, G h o s t Ranch, N e w M e x i c o , 1968
 i
169. Marcel Due hump, N e w Y o r k C i t y , 1966
170. Haul Strand, N e w Y o r k C i t y , 1966
171. Anthony Саго, L o n d o n , 1%f>
172. Kenneth Armitage, London, 19$p
173. Henry Moore (collage), M u c h Hadham, England, 1966-72
174. Bridget Riley, L o n d o n , 1966
175. Phillip King, L o n d o n , 1966
176. Claes Oldenburg, N e w York C i t y . 1967-1972
177. Tony Smith, N e w Y o r k C i t y , 1967
I7R. Edward КienhQlz, Los Angeles, 1 % 7
 * i'.
I \

179. Robert Indiana, N e w Y o r k City, 1971

1R0. Paul Jenkins, N e w York City, 1 % 8
181. Frank Stella, N e w York C i t y , 1967
182. Takis, N e w Y o r k C i t y , 1970
 J

\ 4
184. Adolph Gottlieb, N e w Y o r k City, 1970
185. I. M. Pel, N e w Y o r k C i t y , 1967
186. Barnctt Newman, N e w Y o r k C i t y , 1970
187. George Segal, South B r u n s w i c k . N e w j e r s e y , 1970
1В8. George Rickey, East C h a t h a m , N e w Y o r k , 1973
189. Andy Warhol (collage), N e w York City, 1973-74
190. Tom Wesselman, N e w Y o r k C i t y , 1970
191. Louise Nevelson, N e w Y o r k C i t y , 1972
APPENDIX
T E C H N I C A L NOTES

C A M E R A S , lights, and photographic materials are tools to be selected as

needed, depending upon the creative and technical problems. It is pointless to
discuss specific cameras or other equipment or material, since they always
change and improve.
My first camera was a borrowed 2'/«x3'/« view camera fitted with an eye-level
view-finder for handheld shots. Since 1940, my basic camera has been the 4x5
view camera used on a tripod. For professional and creative reasons, I have
purchased and used every size up to вхЮ.
In recent years, particularly as a result of technical advances, an increasingly
larger portion of my work is shot with Single Lens Reflex (SLR) 35mm cameras.
The principal reason is that it enables me to be treer while retaining a 'view
camera' image, even when working handheld in fast-moving situations.
I prefer natural lighting with all its delightfully infinite varieties, indoors and
out. When needed, I augment it with artificial light or reflectors and, on rarer
but sometimes necessary occasions, with strobe. When I use 'artificial light'
exclusively (floods, sometimes a spot or two», they are generally bounced
(reflected) off walls, ceilings, or, when color is important, sheets. Bouncing is
more 'natural'; it makes the lighting effective but unobtrusive. Lighting is a
personal tool and I keep experimenting.
Like most professionals, I standardize my developing and printing, keeping it
as simple as possible in order to concentrate on the creative problems. I work
from contact sheets, analyzing and at times rethinking and changing my original
compositions, often to a hair-splitting degree. For depth of field and other
problems, I often use only a portion of a negative, but the original cropping is
always invisibly present. My prints are archivally finished and are mounted
on pure rag board.
When shooting color, I try to duplicate the exposure in black and white.
Switching from color to black and white holders at will is not difficult with
carefully planned view camera sittings. Shooting 35mm is more difficult, partic-
ularly when action or fleeting expressions are involved. Then I prefer to convert
the color into black and white. In some instances, I have also had to convert 4x5
(see index).
There are no rules for techniques, only solutions. Today's darkrooms may
soon be replaced with electronic consoles. Yet after thirty years, Stieglitz's
advice to me remains constant: The only thing that matters is the finished
photograph.'
A.N.
A R N O L D NEWMAN
CHRONOLOGY
1918 Born March 3, New York City (second of three sons of Isador and
Treda Newman).
1920-1934 Family moves to Atlantic City, New Jersey, in dry goods then hotel
business. Attends elementary and first years of high school there.
Meets Ben Rose upon joining Boy Scouts. Art becomes principal
interest.
1934-1936 Family in hotel business at Miami Beach in winter and Atlantic City
in summer. Active in art on school publications and paints for self.
1936-1938 Graduates high school, Miami Beach. Receives working scholarship
to University of Miami (Coral Gables, Florida) art classes.
1938 Leaves school because of financial problems; accepts employment
in portrait studio in Philadelphia. Begins own experiments. Lives
with Ben Rose and associates with former Brodevitch students, Phi-
ladelphia School of Industrial Arts.
1939 Works in Philadelphia, Baltimore, and Allentown, Pennsylvania, for
same studio. Meets Alfred Stieglitz in New York. In December takes
job as studio manager in West Palm Beach, Florida. Begins 'cutout'
experiments.
1941-1942 |une 17-19. visits New York City. Receives encouragement from
Beaumont Newhall and Alfred Stieglit/. Offered a two-man exhibit
with Ben Rose by Dr. Robert Leslie, A . D . Gallery. Move* to New
York upon opening of exhibit in September. Museum of Modern
Art purchases first prints. Begins first 'experimental' portraits using
artists as subjects.
1942-1945 Fall 1942, returns to Miami Beach for army induction; is deferred.
Operates own studio in Miami Beach and continues artists' portrait
series during visits to New York.
1945-1946 One-man exhibit, 'Artists look l i k e This,' at Philadelphia Museum
of Art. txhibit purchased by the Museum and widely circulated.
1946 Moves to New York. Receives assignments from Harper's Bazaar,
Fortune, and other publications. Photographs Eugene O'Neill, first
of Life assignments, and Stravinsky. Shares New York studio, 20 bast
84 Street, with Ben Rose.
1947 August 25, first of many covers for Life.
1948 Begins advertising assignments. October, moves to combined stu-
dio and home, 39 West 67 Street.
1949 March 6, marries Augusta Rubenstein. Portrait assignment for Port-
folio begins long association with Frank Zachary, continuing later at
Holiday, Travel & Leisure, and Town & Country.
1950 May 9, son, Eric Allan, bom. What Do U.S. Museums Buy?' essay
for Life.
1951 One-man exhibit at the Camera Club, New York. Begins the New
York Times ad series photographing their executives, columnists,
feature writers, critics; continues until 1958. First of continuing
series of assignments for Holiday. Moves to larger quarters, 33 West
67 Street. Receives Photokina (Cologne, Germany) award.
1952 March 26, son, David Saul, born. Commissioned by Life to photo-
graph presidential possibilities. Eisenhower, Stevenson, Taft. et
cetera, for covers.
1953 'The U.S. Senate' essay for Holiday includes his first photographs of
future Presidents Kennedy, lohnson, and Nixon.
1954 February-August, sails with family and loaded station wagon to
Europe for Holiday, Life, and others first of continuing assign-
ments abroad over the years. Introduced to Paris art world and
photographs Picasso in Vallauris.
1955 'American Arts and Skills' series for Life. One-man exhibit at Lime-
light Gallery, New York.
1956 Moves studio back to 39 West 67 Street, retains '33' as residence.
Presidential candidates cover series for Life includes portraits of
Kennedy, Eisenhower, and Nixon. 'French Essay' for Holiday and
photographs Braque, Dubuffet, and Picasso (at La Californie,
Cannes).
1957 Receives First Annual Photojournalism Conference Award, Univer-
sity of Miami, Coral Gables. Receives Financial World Annual
Report Award for the Ford Motor Company 'Best 1957 Annual
Report All Industries.'
1958 October to December, to Africa for Holiday photographing modern
and tribal leaders plus stories in primitive bush areas in ten coun-
tries; covers 24,000 miles.
1959 First trip to Israel for Holiday.
1960 'Cape Cod Artists' essay for Hori/.on.
1961 Rothschild family portraits for Holiday. Assignments in Europe and
lapan, and photographs the heads of the three branches of the U.S.
Government tor Holiday. Receives Newhouse Citation, Syracuse
University, and the Philadelphia Museum College of Art citation.
1962 Contracts to do book ot portraits with Carl Sandburg as author.
Sandburg, living with Newmans, becomes ill and unable to con-
tinue. Project dropped.
1963 Renews acquaintance with Stravinsky and photographs him in Los
Angeles. American Temper' series and lohn F. Kennedy advisers
series tor Holiday. Photographs Alfried Krupp in Essen, Germany.
Does Lyndon B. Johnson's official portrait. One-man exhibit at the
Fourth Biennale Internazionale Delia Fotogratia, Venice, Italy;
awarded its Gold Medal.
1964 After editorial upheaval and staff resignations, suspends association
with Holiday until 1967.
1965 Assigned most of the Smithsonian Institution Anniversary book.
Named Adviser to the Photography Department, Israel Museum,
Jerusalem.
A r n o l d , A u g u s t a , Eric and David N e w m a n , 1974.
1966 Begins IBM ad series, continues for two years. Increasing use of
35mm camera changes nature of work. Works on Bravo Stravinsky
with Robert Craft as author.
1967 Bravo Stravinsky published.
1968 Special photography for films in France and England. Begins teach-
ing advance class at Cooper Union, New York.
1970-1971 rirst assignments for Travel & Leisure magazine, now staffed by
former Holiday editors. Resumes 'cutout' experiments.
1972-1973 Signs with LIGHT Gallery, New York City, and has one-man exhibit
there. One-man exhibit, 'Photographs from Three Decades,' at
International Museum ol Photography, George Eastman House,
Rochester, New York. Circulating version of exhibit first shown at
the University of California Art Museum, Berkeley.
ONE-MAN EXHIBITIONS
' T h e w exhibitions w e r e circulated extensively to museums and
other institutions.
1941 Two American U n k n o w n s - Arnold Newman and Ben Rose.
A-D Gallery. New York. Organized by Dr. Robert L Leslie a n d
Percy Seitlin. SO photographs
1*41-1942 Artists Through the Camera, Ihe Photography Gallery.
Brooklyn Museum. >15 photographs.
1945-1946 'Artists l o o k Like This. Philadelphia Museum of Art.
Organized by f M. Benson. C h i e f , Division o l Education. Cir-
culated. Я? photographs
Arnold Newman at the opening of the Newark, New Jersey exhibi-
tion of Artists l o o k Like I his.' circulated by the Philadelphia
Museum of Art. 194b
1950 Arnold Newman - Early and Recent Works.' I he Village C a m
e r a C l u b , New York. JO photographs
1951 'Arnold Newman Photographs - BI.h Ь•White and Color
191A-I950.' I h e C a m e r a Club- New York. 110 photographs
Arnold Newman Photographs, 19WM950 Milwaukee Art l rIVll-
lute. 100 photogi•aphs.
: ' Arnold Newni.iii Color and Black'White 1 he I d Werner G a l
lery. Provinceinwn, Mass. )0 photographs
Arnold Newman Retrospective." Chicago Art Institute. Arranged
by Peter Pollack, 4Я photographs.
i Arnold Newman C o l l i ' ! l i v e W o r k . ' Portland (OregonI Art
Museum. Arranged by Thomas C . C o l l . |r. 70 photographs,
Arnold Newmani Portraits. Limelight Photo Gallery. Mew Yc »rk.
photographs.
Arnold Newmanr Portraits. University of Maine, O r o n o , M a
40 photographs
1956 Arnold Newman Photographs 1940-1951. Santa Barb,
Museum o l A/l, California. *> photographs.
'Arnold Newman Photographs. 1940-1954. library Gallery, O h i o
University. Athens, O h i o 40 photographs
Arnold Newman Photographs. 1941-1954 Gallery 256. Province-
town, Mass. 41 photographs.
'Arnold Newman Photographs.' Miami Beach Art Center. 85 pho-
tographs.
1957 Arnold Newman Portraits.' University ot Virginia Museum o l
f i n e Arts. Charlottesville. Va. 75 photographs
1958 'Arnold Newman Portraits.' Contemporary Arts Center. Cincin-
nati Art Museum 75 photographs
1959 'African Portraits' and Crafts.' I h e Commercial Museum, Phila-
delphia. For ihe exhibit, Treasures of Africa.' 28 photographs
1%1 'Arnold Newman Portraits.' Phoenix (Arironai A r l Museum. 60
photographs.
19$3 Arnold Newman Portraits.' Hie Fouilh Biennale Internationale
Delia Fotogralia, Venice. Italy. Arranged by Romeo Martinez. 4Я
photographs.
19M Photographs Arnold Newman." VII Photographers Gallery,
Provincetnwo, Mass. 45 photographs.
1972 Arnold Newman." The light Gallery. New York. 61 photo-
graphv
1972-197;' Arnold Newman: Photographs From Three Decades.'
international Museum of Photography, Ceorge Eastman House,
R o c h e s t e r N . Y . Й1 photographs. Circ ulaled 50 photographs.
1973 Arnold Newman: Photographs From T h r e e Decades. Univer-
sity of California Art M u s e u m . Berkeley, Calif. 50 photographs
1974 Arnold Newman ' « » Gallery. Birmingham, Mich. 43 photo-
graphs.
GROUP EXHIBITIONS
Partial Listing
1941 'Exhibition ami Sale - American Photographs. Museum ot
M o d e r n Art. New Y o r k .
1943 'Masters of ('holography.' Circulating exhibition. Museum of
M o d e r n Arl, New York,
too Years of Portrait Photography ' M u s e u m of M o d e r n Art.
New York.
Christmas Exhibition Sale ' Museum of Modern A n . New York.
1945-1948 'New Photographers.' Circulating exhibition, Museum ot
Modern Art, New York
1948 In and Out o l Fin us.' Museum o l M o d e r n Art, New York
Circulated in Ihe LJnited States, Germany, Italy, and Trance.
1950 first Exhibilion. 'Color Photography ' Museum or M o d e m A r t ,
New York.
'Exhibition fifty.' The Camera C l u b , New York.
'Photography Mid-Century. Los Angeles County Museum.
Modem Photographs.' Detroit Institute o l Arls.
1951 Contemporary Photography ' Contemporary Arts Association,
Houston. Texas.
1953 Contemporary American Photography. National Museum of
M o d e r n Art. Tokyo. Fuji Tilm Building. Osaka
1954 Creative Photography - 1956 ' University of Kentucky. Lexing-
ton, Ky.
1957 Creative Photography. Montclair Art Museum, N . | .
'Portraiture: The 19th and 20th Centuries Exhibition of paint-
ings. pnnts. and photographs. Munson.Williams-Proctor Insti-
lute, Utica, N.Y Circulated
' F j i e s in American Arl. Metropolitan Museum of Arl. New York
К portraits Circulated by the American Federation of Arts.
1958-1959 'Photographs Irom the Museum Collection.' Museum of
Modern Art. New York
1959 A r l in Photography ' Art: U S A 59 Exhibition. New York Coli-
seum. New Yo-k
'Masterpieces of Photography from the Museum's Collection.'
Art Institute of Chicago.
1959-1960 Photography at Mid-Century.' Tenth Anniversary Exhib-
ition George Fastman House. Rochester. N.Y Circulated,
' t o w a r d the New Museum o l Modern Art.' Museum or M o d e r n
Art, New York
1960 The Sense of Abstraction Museum ot M o d e r n Art. New York.
Portraits trom the Museum Collections.' Paintings, prints, and
photographs. Museum of M o d e m Art, New York.
1962 Ideas in Images.' Worcester (Mass.) Art Museum. Circulated.
1964 I h e Photographer's Eye.' Museum o l Modern Art. New York.
1965 Photography in the Fine Arts ' The Kodak Pavilion. New York
World s l a.r Circulated
1967 Photography in Ihe Fine Arts' (No. V i . Meltopolitan M u s e u m
of Art. New York. Circulated
Homage to Marilyn Monroe.' Exhibition of work by leading
artists: paintings, prints, photographs. Sidney lanls Gallery. New
York.
1968 Photography in the Iwent>eth Century.' George Eastman
H o u s e . Rochester, N . Y . Circulated.
1969 Portrait Photographs.' Museum o l Modern Art, New York.
I he World in Color.' Union Carbide Building. New York. Ori-
ginated and shown m the Netherlands and Prague. Circulated in
USA.
Israel: The Reality.' Ihe lesvisb Museum, New York. Circulated.
1970 The Camera and the Human Facade Smithsonian Institution.
Washington, O . C .
lolo-Portret. A retrospective exhibition ot the history ol Ihe
portrait in photography Haags Gemeentmuseum, the Nether
lands.
1971 'Invitational Exhibition - Paintings, sculpture, prints, photo-
graphs Provlncetown (Mass ) Art Association
1972 Portrait Of Ihe Artist ' Portraits from the Museum's collection in
yanous media from Ihe Renaissance through the eraof photo-
graphy. Metropolitan M u s e u m of Art. New York.
1974 I h e Arl of ihe Portrait Photograph. Robert Schoelkopf Gallery.
NesvYork.

SELECTED
BIBLIOGRAPHY
Since the material available is so extensive, only
major articles, significant magazine covers, or sin-
gle photographs are listed. All entries under Publi-
cations contain written text, statements, or quoted
remarks by or about Arnold Newman. The section
Photographs in Published Sources consists of work
executed on commission or existing photographs
used to illustrate articles, some self-contained (cap-
tioned, but without text).
PUBLICATIONS
B O O K S , ARTICLES, REVIEWS
Arnold Newman.' Camera (Switzerland! (November I960). pp.
2 4 - » ArticIc and 9 photographs
•Arnold Newman, Early Photographs.' Infinity (November l % 3 ) .
cover, pp. <1-9. ArticIc and 6 photograph*. (See Rose. Ben.)
Arnold Newman Photographs the President.' Popular Photography
lOctober l % 4 i , pp 40-41 Article and 8 photographs
'Arnold Newman " S h o o t s " Art.sU.' U-S Camera (February 194Ы,
pp. 24-25.17 photographs.
Arnold Newman's « m m Portraiture.' WAort World, vol. 7. no. 2
11968). Article and 5 photographs.
Artists Luok Like Ibis." New Yor* limes Magazine (November 4.
1945!. pp 16-17. Article and 10 photographs.
The Art of the Portrait - as magazine Illustration.' and 'The Art of
the Portrait - л» curporjte communication.' Applied Photography.
no. 44 (1970). Artie I f a n d ft photographs.
Barr, Alfred H . , Jr. led.). Master olModem Art (New York:
Museum of Modern Art. 1954 Distribution l»y Simon & Schuster).
O n e photograph, p. 197.
Bethers. Ray. from lye to Camera {New Y o r k : Pitman Publishing
Corporation, 19511. 5 photographs, pp. 99.120-125.
Bondi. Inge, Some Relationships Between Photography and
Artists." Archives of Л т е г г с а я Art (April 1%9). In text and J photo-
grapbs.
Cole, Sheila. -Newman.' Photo Arts (December 1950). pp. 34-39.
Article ami 5 photographs.
'Convention Personality - Arnold Newman. I he National Photog-
rapher (March I960), pp. 140 141. Article and 6 photographs.
Craft Robert Stravinsky. Chronicle of a friendship 1<M8-1971
(New York. Knopf, 1972). In text, pp 303, 310, 311, 312, 313, 314, 315
'Creative Camera M e n . ' Newsweek duly 1,19461. p. B1. In text and
one photograph
Creative Photography (Lexington, Ky. Lexington Camera C l u b and
Department of Art. University of Kentucky. Lexington, 19S6I In text
and 2 photographs, pp. 20- 21.
DeMare, Eric. Photography !Penguin Handbook Harmondsworth. Half a Century of U.S. Photography.' Time [November ? , 19S3),
England: Penguin Books, 1957). 2 photographs, pp. 44-45.
Deschin, lacob. Say it With Your Camera (New York: Whittlesey
pp. 64-65. One photograph.
•How Arnold Newman Uses His l ight Meter.' Modern Photography
House, McGraw-Hill. 19501. In text and one photograph, pp. 14,
51-53, B3. Completely revised edition (New York: Ziff-Davis, i960). U
text. pp. 14. 60 -62, 91.
iluly 1959). pp. 87.118. Article and J photographs.
Inside 9 Studios.' Popular Photography iNovember 1956). pp. 74.
76. In text and one photograph
'Portraits o n Display.' \ ' « v Yotk Times I February 20,1955).
ludge. Jacquelyrv Arnold Newman Looks Back.' Modern Photog-
Review of Newman's One-man exhibition, I imelight Photo Gallery,
New York.
raphy (April 1951), pp. 54 59. 94 96. Artic le and 8 photographs.
((Inzer. H . M. Idea» in Images.' Popular Photography (March 1%3),
. Portraits of Artists.'.Ve.v York Time s ijune 16. 1957).
Review of Metropolitan Museum's exhibition f a r e s in American Art
pp. 611 69. Article on the exhibit at the Chicago Art Institute. In text
Newman in text.
and one photograph.
Arnold Newman Biography.' The fncy clopedia of Photog-
Downes. Bruce. Angle of View.' Popular Photography (August
raphy (New York; Grrystone Press, 1%4i. Biography and 3 photo-
1940), pp. 10.194. In text and one photograph.
graphs. pp. 25(0-2506.
-. Let's Talk Photography.' Popular Photography (April 1951).
Knight. John Adam. Camera C l u b Shows Work of Arnold Newman
pp 18. 1C0. In text a n d one photograph.
at Fxhibition ' Mew York Post 'January 25, I931>, p . 17. Review of
The Editors of Time-Life Books. Life Library of Photography (New Newman's one-man exhibition.
York: Time-Life Books, 1970). The Camera.' pp. 40-11. in text and
one photograph. the Great 1 hemes,' pp. 112-113, in text and 2
photographs. Light a n d Him.' pp. 63 64, in text and 2 photographs.
Kramer, Hilton. 'Portrait Photographs A Historical Collision.'
New York ' " o e s (September 4, |969|. p . D27. Review of portrait
photographeis' exhibition. In text.
. 'Photography Year. 1974 Edition,' p. 146. in text and one
photograph ' l e s PeinturevArnold Newman." American SoCkHyot Magazine
Photographers. ASMP Picture (New York: The Ridge Press. Inc..
(1971.» 'The Studio." pp 20-21,08-91. in text and 4 photo-
1959). Statement by Arnold Newman and 7 photographs, pp
graphs. Great Photographers,' pp 19}, 228-229, in text and 3 photo-
150-155.
graphs.
Lncychpedialudaica. (New York. Macmillan, 1971). V o l . 12, p . l l p m a n , Lillian. And Music af the Close Stravinsky's Last Vears
1035 Biography (New Y o r k : Norton, 1972). In text. pp. 297,298. 311. 6 photographs,
pp. 208-209.
The Глее of i h e Artist.' Harper's Bazaar (October 1946), pp. 166.
247-251 Article and 15 photographs.
Lyons, Nathan. Photography in the Twentieth Century (New York:
Finch, Christopher. Images ol friendship: I h e Collection of Mr. Hoil/on Press, 1967). In collaboration with George Eastman House.
ana M r s . Arnold Newman Auction Magazine (|une 1971). pp. 29-33. Rochester. N . Y . O n e photograph, p. 38.
Article on the Newmans' art collection. 6 photographs.
Mackland. Ray 'Flow Life Picks a Cover. Photography Magazine
l o i o - P o r i r e t ' Uaag* Сглитпитosco'ii ( T h e Hague, Netherlands; (September 1952). pp. 62. 63. I20 121. Iri text and one photograph.
1970), p . 61. Published With their exhibit. O n e photograph.
Freedman, Richard. 'The Private Lite of a Magician.' Review of
Magazine Camera Show.' life (Occembcr 13,1948), pp. 122-123.
H/avo Stravinsky. Boob World (December 31, 1967), pp. 4 5 . 3 photo-
O n e photograph.
graphs.
Mahoney, Tom (ed.). 0 . 5 . Camera Annual, T949 INew York: U.S.
Gelb. Arthur and Barbara- О'Л'сгМ ' N e w York: Harper, i960). In
C a m e r a Publishing Corporation. 1949). 7 photographs o l In and Out
text regarding Newman doing O'Neill's portrait, pp. 672 -873.
of Focus' exhibit, Museum of Modern Art, pp. 28-29.
С.еплпег, rmily. 'Photos of Artists in New Museum Show.' New Mailer. Norman. Marilyn (New York: C.rosset & Ounlap, 1973), pp.
York Henld Tribune llune 16.1957). Review of Metropolitan 212, 214, 217 3 photographs.
Museum's exhibition, T a c t s iri American A r t / In text.
McCarthy, Joe. Ihe Remarkable Kennedys INew York: The Dial
Goldsmith. Arthur ' O n Assignment with Arnold Newman': A Pop-
Press, 1960!. In text o n the making ol lohn F, Kennedy's portrait in
ular Photography lape Interview: Arnold Newman o n Portraiture.'
relation to his running for Vice President, pp 163-164.
Popubr Photography (May 19571. pp. И0-85, 86-87, 113-116. 122 -127.
Article and taped interview. 15 photographs of Newman o n assign- 'Men at Work. New York Times Magazine January 28.19511, pp.
ment. I? Newman photographs. 12-13. Article and 10 photogtaphs.
Arnold Newman: The Portrait as Record and Interpreta- Motgaii, Willard D . 'Ways and Means.' /•holograph»- Magazine (Fall
tion.' Popular /f»oro/{raphy iNovember 1973). pp 122-131, 172, 19ft. 1947). pp. 16, 148. In text and one photograph.
201. Article and poittoliu of 11 photographs.
Museum Honors Symbolic Portraits by Arnold N e w m a n . ' Life
G r i r r v i n . Samuel. 'Grierson's W o r d in Edgewise.' American Pho- (Occcmber 7.1953). pp. 18-20. Article and S photographs.
tographer (May 19SD, pp 314, 317. Review of Newman ; one-man Neubauer, |ohn. 'The Camera and JFK.' Popular Photography
exhibition at the Camera C l u b . New York. (November 1967), pp. 88-103, 144-145. In text and 4 photographs.
Gruber. I Г Ш / , famous Portraits (New York Ziff-Davis, I960). 5
Neugoss, Frit/. 'Arnold Newman.' Camera (Switzerland! June
photographs, pp. 7, 31, 8 3 . 9 3 , 9 5 . In text, pp. 14, 131. 136, 146-147,
>953). pp. 2S4-25R. Article and 7 photographs.
148-149. i'.ft. Also published as fame (London: Focal Press, 1960).
 N e w h a l l . B e a u m o n t . The History ol Photography from >8)9 to the
P H O T O G R A P H S IN
Portraits Г hat Break the Rules.' U.S. C a m e r a (April 1951). pp.
Present П.jv i S o w Y o r k : M u s e u m o l M o d e r n A n . 1949). In text and 36-37. 9 ) . Article and 5 photographs.
o n e photograph, pp. 239-240. Revised and e n l a r g e d edition (1964). Ь

PUBLISHED SOURCES
Reedy, William A. 'Conversation W i t h Arnold N e w m a n . ' K o d a k
text a n d o n e phoiograph. pp. 188. 100
Studio Light, n o . I (197b. pp. 11-20. interview and S photographs.

. -Portfolio Portraits tor Publication. Impact - Photography BOOKS

N e w m a n . A r n o l d , and O a f l . Robert. Bravo Stravinsky ( C l e v e l a n d .
O h i o W o r l d . 1967). 1 M photographs by Arnold N e w m a n ; foreword
by Francis Steegmuller: a n director, f r a n k Zacharv
N e w m a n . A r n o l d , and Tremblay. L a u r e n c e . Happylown Tales
( C o r a l C a b i n . H a . : Parker Art Printing Association. 1944J. D r a w i n g s
by A r n o l d N e w m a n .
N e w m a n , A r n o l d . Portrait ot a n Artist.' Mimcam Photography
( N o v e m b e r I94SJ, pp. 40-44. 126-128 Artie le and 6 photographs-
. Portrait Assignment. Photo Arts (Spring 1948), pp. 7 0 - ? * ,
106-110. Article and 12 photographs.
. Speaking ill Portraits . . Unrvetsa! Photo Almanac
pp 19-26 Article and 11 photographs.
. Arnold N e w m a n ' s E u r o p e . ' Popular Photography
l % 4 ) . pp. 50-55. 112-115. A n k l e a n d 18 photographs.
N e w m a n . Julia Photographic Style .' U.S Camera ( M a r c h 1961).
p p 57, 39. In text and 2 photographs.
Perceptive Photographer V e w s w e e k i f e b r u a r y 12.1951). p 4',
Article and 5 photograph».
P h o t o ( F r e n c h e d i t i o n ) . Les letes C o u r o n e e s d ' A t n o l d N e w m a n .
•June 19731. pp. 10» 117, 112, 142- interview and 6 photographs
Photo World. 'Arnold Newman (ГеЬгиагу 1974). pp. 30-41. 100.
Interview and 7 photographs.
Pholographer C a t c h e s Spirit ot M o d e m Artists ' hie
4. 1946). pp. 10-12. Article and 7 photographs.
Photographic Greats ' Net/ York Tunes Magazine (November I I .
19621. p. 8»,- O n e photograph.
Photography at the M u s e u m ol M o d e r n A r t . ' Museum
Art Bulb tin, vol 19. no. 4 (1952) 6 photographs.
Photography in the Fine Ans." Saturday Review (May 2ft. I 9 « t ) , p.
42. O n e photograph.
Photography Mid-Century.' t o s Angela County M u s e u m (1950).
Published w i t h their exhibit. Photography Mid-Century ' In texl a n d
o n e photograph, pp. 1 0 . 1 8 . plate 107
Photography ol the World ( T o k y o : H e i b o n s h a Publishers, 1958). 4
photographs, 1970 edition. T w o photographs, p p 19-20.
Pollack. Peter. ' T h e U n s h a c k l e d V i s i o n . ' An Photography
1955», pp. 5-7 In lext and 2 photographs.
. Ideas m Image*. W o r c e s l e r (Massachusetts) Art M u s e u m ,
1%2. Published with their exhibit. ' I d e a s in Images.' 3 photographs
. Ihc Picture Итогу оI Photography, revised and e n l a r g e d
edition ( N e w Y o r k : llarry N . A b r a r m , 1969). C h a p t e r 50. entitled
•Arnold N e w m a n . ' pp 646-657 I I photographs.
'Portraits by the Great A m e r i c a n Pholographer Arnold N e w m a n '
Camera (August 1960», pp. 1Й-26 " photographs
lor Advertising ( R o c h e s t e r , N . Y . : Eastman Kodak C o . . 1971). pp. A r m i t a g e , M e r l e . Stravinsky (New York D u e l l . Sloan & Pearce.
313-323. Ю photographs 19491. O n e photograph
R e y n o l d s . Charles R '3 W h o Switched." 3 5 m m Photography (New Burcbell. Samuel, and the Editors о» T i m e - l i l e B o o k s . The Age ot
Y o r k ; Zilt-Oavis, W i n t e r 1973), cover and p p 50-S2. 55. 57, 58. 120. Prog/ess (New Y o r k : T i m e - l i t e . 1%6(. 7 photographs, pp. 149-157.
122. in text and 7 photographs.
C h i p p . Herschel B. Theories of Modern Art (Berkeley. C a l i f . :
R o s e . B e n . 'tarly N e w m a n . ' Infinity (November 1963), pp. 10-11. University ot California Press, 1969). 2 photographs, pp. 269. 609
A n k l e and 2 photographs. (See Arnold N e w m a n , Farfy Photo-
Coughlan. Robert, and the F d i t o r s o ( Time-Lite Books. The World
graphs. i
ol Michelangelo ( N e w Y o r k : lime-Lile. 1966) 10 photographs, pp.
Rosenthal. Nan A m e r i c a n Artists Photographed by Arnold New- 75-81.
man. ' A n in America tlune l % 5 ) . pp. 106-113. Article and 9 photo,
T h e Fdilors ol lite American Arts and Skills. Part I I : 'ТЫ* I ook Ol
graphs.
Liberty i n CraHsmanship'. Part III: ' T h e Sturdy A g e ot Homespun'
Scully, l u l i a . 'Picasso and lb.- Portrailists.'Moc/c/n Photography (New Y o r k , f P Dutton ior T i m e - l i l e B o o k s . 1957). Revised edition
(19521 (August 1974), pp 102-107 In text and 1 photograph (1968) Part II. 27 photographs, pp 30-54; Part III, 29 photographs,
pp. 5 6 68.
Stagg. M i l d r e d . ' T h e W o r k o l Arnold N e w m a n . ' The C a m e r a (May
i March Furnas. Clifford С . M c C a r t h y . Joe. and the Fditor* o f Time-1 ile
195D. p p 48-54. 118 Article a n d 11 photographs
Books. the Engineer ( N e w Y o r k : T,me-Liie Books. 1966). 14
Steichen. Fdvvard. Problems o i Portraiture ' An in America, vol 51,
photographs, pp. 40-53.
n o . 4 iAugust 1%3>, p. 129. O n e phoiograph.
C r u n t e l d . Frederic V . and i h e Editors o i Time-Life Records The
. Sandburg. Photogiaphers View Carl Sandburg (New Y o r k :
Story ot Croat MUSK the lady Twentieth Century I New Y o r k :
H a r c o u r t . Brace & W o r l d . 1966). 7 photographs, pp. 94-95
T i m e - l i t e , I467t. 12 p h o t o g r a p h s . ' S t r a v i n s k y at 84. pp. ЗЯ 44
Sterner. Ralph. ' C h a l l e n g e to Poitrail Photographers.' Modem Pho-
The Holy ttihlr Illustrated. iPleasantvillr. V Y : Reader's Digesi
tography (lanuary 1950). p p 22, 29. 133-135. In texl and 2 photo-
1971). 23 photographs.
graphs.
M a n c h e s t e r , W i l l i a m . T)>e Arms oiKrupp (Boston: Little Brown.
S z a r k o w s k i . J o h n . I he Photographer's lye ( N e w York M u s e u m or 19b«). Book j M k e l photograph o l A l i n e d Krupp.
M o d e r n Art, l % 6 ) . O n e phoiograph. p. 86.
Moholy-Nagy, l . i s / l o Vision m Motion ( C h i c a g o : Paul Theobald,
. looking at Photographs: 100 Pictures from the Collect/on ol
194?) O n e photograph, p 140.
the Museum ol Modern An ( N e w York - M u s e u m o l M o d e r n Art.
1973). pp. 140-141. T e x l and o n e photograph. The Smithsonian Institution ( W a s h i n g t o n , Г) C . The Smithsonian
(February
Institution in association with American Heritage magazine. 1965 ' 46
'This Is C o m m e r c i a l Photography." Commercial Camera, Applied pltolographs las credited).
Photography Supplement no. 4 <19551. Article and 1 photographs
Stever. H . G u y i o r d . Haggerty, lames, and the Editors ot T i m e - l i l e
T h r u N e w m a n ' s l e n s . ' The Art Digest ( D e c e m b e r 15,19451, p p
B o o k s . Flight ( N e w Y o r k : lime-Life. 1965). 13 photographs, pp
12-13. Article and 10 photographs 17-29.
ot Modem
Tremblay, Laurence. Happytown tales (Coral G a b l e s . Ha.: Parker
W e i t e n b a k e r , Lael. and the Editors o l l.me-Lite B o o k s Ihe World
Art Printing Assch iatlon, 1944). D r a w i n g s by Arnold N e w m a n .
otPUasso ( N e w Y o r k : T i m e - l i l e , t % 7 ) 2 photographs, pp. 144. 166.
25 Great Americ a n Photographs.' U.S. Carrwu (January I960», p.
66. O n e p h o t o g r a p h
' V a n g u a r d Photography by T w o Young A m e r k a n s . ' A O Maga/me HOLIDAY MAGAZINE
( D e c e m b e r - l a n u a r y , 1941-1942). Article and 9 photographs February 1954. "The U . S . Senate.' 12 photographs, pp. 56-63.
V e i l . Ivan. Advertising - I hose W h o Write the N e w s That's Fit June I 9 S J . 'The M a n W h o Killed Lincoln.' O n e photograph, p. 102.
Applied Photography, n o . 4 11955). pp. 6-11 4 photographs
S e p t e m b e r 1954 I h e C l a n s ol Scotland. Д photographs, pp.
W e i s s , Margaret К ' T r e n d s in Transition.' Saturday R e v i e w (August 38-45.
(July
29, l % 4 ) , p . 136. O n e photograph.
M a r c h 1955. British Parliament.' 7 photographs, pp. 56-61.
•What M a k e s a G o o d Portraitf Popular Photography (lebiuary
ГеЬгиагу 1956. 'The A m e r i c a n Indian 8 photographs, pp. 25.
1956). pp. 5B-6I. In text and one photograph
26-39.
•World's Greatest Pictures: Stravinsky by N e w m a n . " Mode/л ho-
M a r c h 1956. 'What D o Y o u Collect?' O n e photograph pp. 64-65.
lography (May 1467). pp. 70 7 1 , 9 4 Article and 5 photographs
A p r i l 1957. F r e i u h Issue I h e Arts of France.' 8 photographs, p i
Yerxa, Fendall 'Photography: Portraiture B a c k g r o u n d . ' N e w York
Ilerald Tribune (February 4, 19511. Review o t ' N e w m a n ' s one-man 64-71
exhibition at tin* C a m e r a C l u b . N e w York. O n e photograph August 1957. "POmpeii." 5 photogcaphs, pp. 46 51.
 November 1957. ' t h e U . S . Marines." it photographs, pp. 70-75.
. 'Cjcorgc* Duhamel.' O n e photograph, p . 75.
April 1958. T h e Pageant of England. 4 photographs, pp. 56-63.
May 1958. 'The Vatican.' C o v e r , and 19 photographs, pp. 50-6).
October 1958 rhe United States Navy ' « photographs, pp. 54-59
April 1959. "African Issue - A Gallery of leaders, h o l o g r a p h s , pp
45,49. 64-73, 74,143. 146.152.
October 1959. 'New York Issue - A First l o o k at New York' 10
photographs, pp. 50-63,90-95
December 1959. Discover Israel ' Cover and 22 photographs, pp.
66-77.
March I960. The United Stales Air force." 3 photographs, pp.
82-87.
April 1960 "Rome: A Pontifical Splendor.'5 photographs, pp.
82-91.
September l % 0 . The UnHed States A r m y . ' 3 photographs, pp.
54-59.
May 1961. ' I h e Congo River.' 21 photographs, pp. 74—79.
September 1961. 'The House of Kothschild. Part I . " 6 photographs,
pp. 32 41.
October 1961. lapan: I h e Big and Lillte Aris.' 4 photographs, pp.
84-87.
November 1961. The House of Rothschild, Part II." 4 photographs,
pp. 74-78.
December 1961. T h e I louse of Rothschild, Part I I I " 2 photographs,
pp. 94-95.
April 1962. Washington D . C . Issue - T h e City o l O u r T i m e ' 5 pho-
tographs, pp 52-57, 119,141
Oecernbcr 1962. The House of Rolhschild, Part I V / O n e photo-
graph. pp. 62-63
March i % 3 MIT.' Cover and U photographs, pp. 66-75.
luly 1%3. The Americans In My Mind.' 9 photographs, pp. 28-39.
September 1963. ' I h e Merchant Marine.' 3 photographs, p p .
64-69.
January 1964. ' I h e Louvre: Halls of Grandeur.' 6 photographs. pp.
70-77.
September 1964. 'The Rockefeller Institute ' 5 photograph*, pp.
52-57
O c t o b e r 1964. T>v German T r a d i t i o n . ' 9 photographs, pp 66-73.
November 1964. Velvet New York Cover and one photograph.
April 1%3. 'The leader and Some Notable Spanish faces.' 9 photo-
graphs. p p . 70 -77.
May 1%S. "The Ivyless Halls of Yale." 6 photographs, pp. 76-81.
December 1967. 'Religions of a Devout l a n d : The Meaning o l
I s r a e l ' 5 photographs, pp. 58-63, 139-140
September 1968. 'Lincoln Center.' 5 photographs, pp. 36^5.
tissue A). March 1969. O u r M e n in Paris.' I I photographs, pp.
34-19.
Issue Bi. March 1969. ' I h e lnvisib1eCelebrit.esof Switzerland ' 6
Holographs, pp. 34-39.
M a t c h 1969. Balanchine • Girls Ballet, b photographs, pp October 27.1952. Chicago's Fabulous Collectors.' 30 photographs,
54-57. pp. 90-100. 4
December i % 9 . ('florence Issue ') 'Florence.' Cover and 9 photo- March 22, 1954. 'Sporting Goods. 12 photographs, pp. 114-123
graphs. pp. 28-33.
August 9,1954. 'Family (Ichman) Collection.' 10 photographs, pp.
Chlanti.' O n e photograph, pp. 62-63. 63-67.
. 'Florentine Hill Towns ' 3 photographs, pp 42-43. May 4. 1955. American Arts and Skills. Part II: The l o o k of liberty
in Craftsmanship. Cove» and 27 photographs, pp. 56-71.
The Great Craftsmen o l the New Renaissance.' 6 photo-
graphs. p p . 28-33. luly 18,1955. 'American Arts a n d Skills. Part III: Ihe Sturdy Age of
Homespun.' 30 photographs, pp. 54-65,67-68.
lanuary 1970. 'Most Famous. Yes. But Is Ihe Paris Rit/ the World's
Greatest H o t e l ' Probably." 6 photographs, pp. 38-39. May 18,1959. The Ageless Story of lob's Ordeals In ihe Year's
Pri/e Play 7 photographs, pp. 124-134.
March 1970. ( San Franciscp Issuc.'l 'Who's in Charge Here?" 6
photographs, pp. 4«-5i. December 24, 1%5. 'A City's Future Takes Shape." 10 photographs,
pp. 168-174.
'Culture, Counter-Culture . 5 photographs, pp. 56-59.
. 'The Small Restaurant . . ." O n e photograph, pp. 68-69.
Copenhagen ' 6 photographs, pp 56-59.
November 19~<I 'The Four Seas of Israel ' 4 photographs, pp 54 67.
february 1971. Na?are.' 4 photographs, pp. 50-54. LOOK MAGAZINE
October 25, 1960. 'Detroit's Big W h e e l s . ' 10 photographs, pp.
56 65.
.'Inside Detroit.' O n e photograph, pp. 34-35.
Septrmbor 11, 1962. Marilyn Monroe: A Tribute by Carl Sand-
LIFE M A G A Z I N E burg. 8 photographs, pp. 90-94.
October 7.1946. 'fugene O'Neill.' O n e photograph, p. 102. March 26, 1963. 'The Rockclellers ' 5 photographs, pp. 82 85.
August 25, 1947. 'College Fashions: I he Gibson Girl l o o k . Cover March 10. 1964 'President Johnson's Official Portrait.' C o v e r .
and 8 photographs, pp. 114-116. October 5, 1965. 'The Heritage of Judaism 15 photographs, pp.
May 17. 1948. Andrew W y r t h . ' O n e photograph, p. 102. 56-72.
November 15. 1948 New furniture.' 4 photographs, pp. 115-118.
May 16, 1967 'Philip lohnson's Suburban Museum." 4 photo-
April 4. 1949 Art in Ithie a ' 7 photographs, pp. 68-70.
graphs, pp. 69-73.
August 8. 1949 "|ai ksnn Polloik. Is He the Greatest living Painter October 17,1967 'The 1968 Cars. Cover and 44 photographs, pp.
in the U n i t e d States'' 3 photographs, pp. 42-43. 112-95.
September 26. 1949. 'Philip Johnson's Glass House. 4 photo- December 26, 1967 'Stravinsky,' 11 photographs, pp. 50-56.
graphs, p p . 9 4 - % . lanuary 9, 1968. 'Gallery '68. High A n and l o w Art.' 7 photographs,
, 'I low to Make Four Outfits Into O n e . ' Cover and 10 photo- pp 14-21.
graphs, pp. 89-91
April 30, 1968. 'Israel: twenty Years of Siege and Struggle.' 13
lanuary 2. 1950 7i/e Visits Ihe Vandcrbilt Mansions, Part I ' 7 pho- photographs, pp. 28 38.
tographs, pp 09-92.
August 6. 1968. 'Krupp.' O n e photograph, p . 36.
luly 31, 1950 What Do. U.S. Museums Buy'' 7 photographs, pp.
Galaxy o l Stars least of Madwoman of ChaHht].' One
40-47.
photograph, pp. 64-65.
January 1.1950. 'America's Assets. Cover and 9 photographs, pp.
December 2.1969. 'Seven Dobbs Against the O d d s . ' 13 photo-
60. 66-68.86. graphs. pp. 27-33.
luty 2,1951. The Capitol.' I S photographs, pp. 48-57.
July 23. 1951 Vic Visits Ihe Vanderbill Mansions. Part II Newport
House ; l h e Breakers.'' 9 photographs, pp. 46-52.
September 3, 1951. ' I h e Philadelphia Museum.' 9photographs.
pp. 66-74.
February 4, 1952. ' O ' N e i l l Shines Again Two O l d Plays are Hits.' 9
photographs, pp. Я2-84, 86.
May 5. 1952. Portrait Backgrounds S photographs, pp. 149-153
July 7,1952. T h e White House Redecorated.' 9 photographs, pp.
47-53
P H O T O G R A P H S IN O T H E R 'Vew V'o/4 I/mes Magazine, lanuary 20. 1974. lason lamie Robards
T E L E V I S I O N A N D TAPE R E C O R D I N G S
Tyrone, i photographs, pp. 14-15, 68.

PUBLICATIONS Satuiday hvmng Post 1958-1960 'Adventures of the Mind.' an ON ARNOLD NEWMAN
editorial series including poitraits oi William S. Beck. Vladimu
Art m America. September-October 1973 T h e Indian Summer of Allen, Casey "In a n d Out of Focus.' VVNVC S e w York Thirty
Szvvorkin. Dr Fred Whipple. Arthur Schlesmger. Jr.. Dr. Hans Selye
Iлек Tworkov." O n e photograph. cover minutes. First airing. M a r c h 24, 1971.
l e w i s Mumford, Aaron Copland, Dr. Gerald Holton, Dr. l a u r e n c e
Art i n Л т е ч с а November-December 1973 ' The Nature o l Lee Bragg, Dr. Edward Teller, and others Cummingham. Paul. Archives o ' A m e r i c a n An. Two two-hout
Krasner O n e photograph cover taped interviews. S e w York, luly 14. August 23. 1971.
Safurrfay tvening Post. December 1 1961. Artist o i the Third Eye.
Own. July 1451 '4,500.000 Working W o m e n . 9 photographs, Marc Chagall. 5 photographs, pp. 22-25. Seckler, Dorothy. Archives ot American Art. Taped interview. Prov-
pp. 2<X-39. intelown. Mass September 1. 1964
Sc/enli/rc American October 1956. O n e photograph, Oil Refinery,
Dane r Mjgjimr lanuary 1957. Itanya Holm and Son.' O n e photo- cover.
graph. cover
Sports Illustrated. September i , 1969. O n e photograph, Arnold
£squire November 1965. ' A n Historic Picture ot the New Frontier. Palmer, cover
14 photographs, pp. 30. 88-95.

Esquire Julv 1972. W h i t h e r T h o u G o e s i . 4 photographs, pp. 78,

Sports Illustrated. November 8 . 1 9 7 t . O n e photograph. N o r m
EVENTS
Bulaicli. covet.
82. 87. 91. Prolectionv o l Stravinsky photographs trum Arnold Newman's
fowi> & Country. M a r c h 1973.' I he Indelicate A r t : Arlmongering."
В м ю Stravinsky during an all-Stravinsky 'Spectrum Concert,' Boston
tbqvtre. luly 1973. 'Julia.' O n e photograph, Miss Lillian Hellman, p 5 photographs, pp. 6S-69.
Symphony Orchestra. Boston. Mass.. lanuary 7 and 8 . 1 9 7 2 Michael
99.
Town & Country. A p i i l 197*3. New Vork Antique Dealers at Home." filson Thomas, conductor
fortune October 1948 The Scientists.' 6 photographs, pp. 6 photographs, pp 84-91.
106-111, 170.
Town & Country. April 197.3. 'Did Anita l o o s Write the Great Amer-
fortune M a r c h 1972. 'Vincent Learson Didn't Plan It Thai Way. but ican Novel?' O n e photograph, p. 64.
1.8.M s roughest Competitor is - I . B . M . ' 4 photographs, pp. 5S-5B.
Iown & Country. 'Hardy Andy 2 photographs, pp. 72-75
fortune. 'Imports That Dominate Flieir Markets.' 5 photographs, Joivn 4 Country. October 1973 New Cars for "74. 9 photographs,
cover, pp. 124-127. pp. 166-173.
fortune RCA Alter I he Bart/i*. 2 photographs, pp. 122, 124. Travel & leisure |une -luly 1971 Montlcello. 7 photographs, pp
65-71, 76.
fortune. T h e Ten Highest Ranking W o m e n in Business.' Cover
and 11 photographs, pp. 80-89. Travel & leisure. OctolH-r-November 1971. Surprising Cities." 5

fortune Irving Shapiro Takes O v e r at D u P o n t ' 2 photographs, photographs, pp. 30-39,

pp. 7B.80. Travel 6 leisure December -lanuary 1972. 'Beverly Hills." 7 photo-
graphs pp. 38-41
Hotuon. |uly 1961. 'Cape Cod.' I I photographs, pp. 10-29.
Iravel & leisure. 'Day Outside of Miami ." 2 photographs, pp.
Horizon. Spring 1974 Bohemia Reborn.' 19photographs, pp. 70 71.
M 77. In editorial te*i, 'Progeny, pp. 2-3.
Iravel & leisure A u t u m n 1972 'The Poetic Obsession of Dublin.' 7
McQill's. January 1970. 'Follow the C a r a v a n . ' 3 photographs, pp photogiaphs, pp. 32 37.
60-61.
Travel & leisure. Febiuary March 1973. leiusalem ' 8 photographs,
МсС.аИ\. February 1970. Needlework in Private Hands ' 18 photo- pp. 30-37, 82.
graphs. pp. 68-77.
Travel & tenure. April-May 1973. Aristotle Conlemplatmg the Bust
•VfcCa/fs. October 1970. 'The Making of a Masterpiece ' O n e pho- o l Homer.' 2 photographs, pp. 40-41.
tograph, lulia Child a n d Simone Beck, p . 84.
Travel & leisure 'I've Seen the future and It Is l e x a s ! 7 photo-
McCalts Mastering the Art of French Cooking, Volume Two, by graphs, pp.24-29
lulia C h i l d and Simone Beck.' 9 photographs, pp 86-91.

Newsweek. A p r i l 8 , 1 9 6 3 . 'Pierre Salinger.' O n e photograph, «over

Newsweek. December 6, 1965. T h e Power in I h e Pentagon.' O n e

photograph, cover.

Sew York times Magazine. September 5, 1971. One photograph,

Edward Hopper, cover.

New York limes Magazine, lanuary 2.1972. O n e photograph, l o r n

O'Horgan, cover.
New York times Magazine February 20, 19"2. T h e Haute Cuisine
Restaurants Here Are l ) P Against the Kitchen Wall' Cover and 4 pho-
tographs. pp. 10. 11,67, 77.

New York limes Magazine ' W h y Norman and Jason Aren't Talk-
ing.' 2 photographs, pp. 34-35.
 D i c k i n s o n , Edwin (4x5. H o r i z o n ) , 124
INDEX Dubuffet, Jean 14x5), 91
D u c h a m p , Marcel (4x5), 169
D u h a m e l , C e o r g e s (4x5, Holiday), 106
C a m e r a ' a n d negative) sizes are given following the titles.
* A n asterisk indicates that the print was made from a neg- Eisenhower, Dwight D . (4x5, Life), 67
ative converted from color to black and white. Ernst, Max (4x5), 31
T h e name of the publication o r individual who originally
commissioned the photograph also follows Ihe litle. In Ford. Henry, II (4x5, Look), 107
s o m e instances the photograph printed here may be dif- foss. Lukas (2%x2V4), 159
ferent from the o n e originally published. T h o s e of Krupp Franco, Francisco (4x5*. Holiday), 138
and Stravinsky were not used by ihe original publications Frank, Otto (4x5), 114
but appeared elsewhere o n numerous occasions. Frost, Robert (2Уах2У«, Life Promotion), 99
W h e r e no client is indicated, the photograph was taken
for Newman's o w n uses, although most s u c h photographs C e o r g e , Walter F. (4x5, fortune). 64
subsequently appeared in publications and exhibits around Giacomeiti, Alberto (4x5), 72
the world. C o d e l , Kurt (4x5, Scientific American), 100
Gottlieb, Adolph (4x5), 184
C.raham, Martha (4x5), 129
C r o s s , C h a i m and Renee(4x5), 23
PORTRAITS C r o s z , G e o r g e (4x5), 19
A d e n a u e r , Konrad (4x5, life), 81 Haile Selassie I (4x5, Holiday). 105
Agam. Yaacov f35mmJ, 183 Hare, David (4x5). 61
Albers, Josef (4x5). 63 Hart, Philip A. (4x5, Look), 134
Argyll, Ian, D u k e of 14x5, Holiday magazine). 77 Hayter. Stanley William (35mm), 110
Armitage, K e n n e l h (35mm), 172 H o e y . C l y d e R. (2V«x2tt, Holiday), 70
A r p , Jean (4x5, Harper's Bazaar), 49 Hoffmann, Frederic d e (4x5, General D y n a m i c s Corpora-
Atkinson, Brooks (4x5, New York Times), 53 tion), 142
Avery. Milton (4x5, Horizon), 121 H o f m a n n , Hans (4x5, Horizon), 118
Holm, H a n y a a n d Klaus (4x5. D a n c e ) . 101
B e n - C u r i o n , David i4x5, Look). 165 Hopper, Edward |4x5, Horizon). 123
Berger, Meyer (4x5, New York Times), 52
Bernstein, Leonard (4x5), 32; <4x5, Holiday), 158 Indiana, Robert (4x5), 179
Bienvenida, A n i o n i c I 3 5 m m ' f Holiday), 139
Blitzslein, Marc 14x5), 30 Jenkins, Paul (4x5), 180
Воре Mabinshe, King o l the Bakubas (4x5, Holiday), 103 Johnson, Lyndon B. (4x5. Holiday), 68; (4x5, President
Воре Mabinshe, King of the Bakubas, wives a n d children Johnson), 133
of (35mm*, Holiday), 102 Johnson, Philip (4x5, life), 36
Braque, Georges (4x5, Holiday >. 89 Jones, James (2«'4х21'4), 128
Brynner, Y u l (35mm*, Warner Bros., 7 Arts), 167
Bush, Vannevar (4x5, Life). 45 Kahn, Louis (4x5*, Holiday), 127
Byrd, Harry F. <4x5, fortune), 65 Kaiser. Jakob (4x5, Life>. 83
Kennedy, John I . 14x5, Holiday), 71, 132
C a h n , Sammy (4x5, Show), 155 Kienholz, Edward (4x5', look), 178
Calder, Alexander (4x5, Popular Photography), 95 Kiesler, Frederick (4x5), 120
Caro, Anthony (35mml, 171 King, Phillip (35mm), 175
C h a r l e s Mulara III Rudahigwa. King of Ihe Watusi (4x5. Kline, Franz (4x5, Horizon), 122
Holiday), 104 Kooning, Willem de <4x5), 119
Chagall, Marc (4x51, 21 Koussevitzky. Madame 5ergei (4x5. Music),
C h i n c o , Giorgio d e (4x5), 84 Krupp, Alfried (4x5. N e w s w e e k ) , 141
Cocteau, lean (4x5), 115 Kuniyoshi, Yasuo (4x5), 17
C o p l a n d , Aaron (4x5, Saturday Evening Post), 1П9
C o w a r d , Sir Noel (35mm*, HolidayJ, 166 l a u r e n r e , William I (4x5, New York Times), 54
Crowther, Bosley (2'/«x2Vi, New York Times), 56 Lawrence, Jacob <4x5), 92
Leger, Fernand (4x5), 28
Dali, Salvador (4x5), 62 Lipchitz, Jacques (4x5), 22
Delaney, Shelagh (35mm, Saturday Evening Post), 162 Luce, Henry R. (4x5), 140
Maclean, Sir C h a r l e s (4x5, Holiday), 7b
Macmillan, Harold (4x5, Holiday), 80
Mailer, N o r m a n (35mm), 151
Marin, John (4x5), 46
Marsh, Reginald <4x5), 16
Masson, Andre (35mm), 116
Mathieu. Georges (4x5>, 75
Matta (4x5), 125
McCarthy. Eugene J. (4x5, Look), 134
M c C e e , G a l e (4x5, Look), 134
Meir, Golda (35mml, 164
Miller. Arthur (35 mm), 144
Mird, Joan (4x5), 37
Mondrian, Piet (4x5), 29
M o n r o e , Marilyn (35mm), 145
Moore, Henry (35mm), 173
Morse, Wayne (4x5, Holiday), 69
Moses, G r a n d m a (4x5). 48
Moses. Robert 14x5", Holiday), 117
Moss. Frank E. (4x5, Look). 134
Mostel, Zero (4x5, Holiday). 146
M u m f o r d , Lewis <4x5, Saturday Evening Posf), 108
M u s k i e , Edmund S. (4x5, Look), 134
Nevelson, Louise <4x5). 191
N e w m a n , Barnett (4x5), 186
N i x o n . Richard M. (4x5, Richard M . Nixon), 66
N o g u c h i , Isamu (4x5), 47
O'Keeffe, Georgia 14x5), 27; (35mm, Holiday), 168
O l d e n b u r g , C l a e s (4x5, Look), 176
O'Neill, Eugene (4x5, Life), 33
O p p e n h e i m e r , J. Robert <4x5, Fortune), 35
Pei. I. M. (4x5, I . M . Pei). 185
Picasso, Pablo (4x5), 73, 88
Pollock, Jackson (4x5, Life), 50
Rand. A y n (4x5. New American Library), 150
Ray, M a n (4x5), 126
Richier, G e r m a i n e (4x5), 86
Rickey, C e o r g e (4x5), 188
Riley, Bridget (35mm), 174
R o b i n s o n , Sugar Ray (4x5, Holiday), 112
R o m e , Harold <4x5;. 149
Roosevelt. Eleanor (4x5), 137
Rosenblith, Walter (4x5, Holiday). 143
Rouault. Georges (4x5), 90
Rubinstein, Helena (4x5, Collier's), 57
113 Rusk, Dean (4x5. Saturday Evening Post), 135
Saannen, Eero (4x5, life), 34
Sagan, Frangoise <35mm. Holiday), 163
S a n d b u r g , Carl (4x5, Life Promotion), 111
Schwartz, Harry <4x5, N e w Yor* Times), 55
Segal. George (35mm), 187
Seldes, Gilbert (4x5, Life Promotion), 97
Selye, Hans (4x5, Saturday Evening Post), 98
Shahn, B e n <4x5), 58, 59
Sloan. John (4x5), 18
Smith, David <4x5). 94
Smith, T o n y (4x5, Look), 177
Snow, C . P. (35mm), 161
Soulages, Pierre (35mm), 85
Soyer, Moses a n d Raphael (4x5), 25
Stanley, K i m (4x5, S h o w ) , 154
Stella, Frank 14x5, Look), 181
Stella, Joseph <4x5). 20
Stevenson, Adlai E. (4x5), 136
Stieglitz, Alfred (4x5), 26. 27
Strand, Paul (4x5), 170
Stravinsky, Igor (4x5, Harper's Bazaar). 39. 40; <35mm.
l i m e - L i f e Books, Bravo Stravinsky). 157
Szilard, l e o i4x5, Holiday). 152
Takis (35mm), 182
l a p i e , M i c h e l (4x5), 74
Theiler. Max (4x5, Life). 44
Tomayo. Rufino '.4x5), 93
Toynbee, A r n o l d (35mm, Saturday Review), 160
Trova (4x51, 192
Truman, Harry S. <4x5, Life). 131
Van H e u s e n , Jimmy <4x5, 5 h o w ) . 155
Villa-Lobos, Heitor (4x5). 38
Villon, Jacques (4x5), 87
Wallace, Henry (2'/.x2%, Life), 96
W a r h o l , A n d y (2У«х2'Л, Town & Country), 189
Warren, Earl (4x5. Holidayl, 130
Watson, James ( 2 ' / . x 2 V Time-Life B o o k s ) , 153
W e s s e l m a n , T o m (35mm), 190
Wevhe. Erhard (4x5), 60
Wilder, Billy <2V.x2'/4, Holiday), 148
Wilder, T h o r n t o n (2%x2'/«), 147
Wright, Frank L l o y d (4x5). 41
W y e t h , A n d r e w (4x5, Life), 51
OTHER PHOTOGRAPHS
Mother a n d child, Philadelphia (2"«хЗ%), I
Convict sign. Philadelphia <2'ЛхЗ'/«}, 2
Brick abstract, Baltimore (2%хЗ'Л), 3
Two men on front porch, W e s l Palrn Beach (4x5), 4
Wall and ladders. Allentown, Pa. (2Vix3tt>, 5
Barber shop cutout no. 1. W e s l Palrn Beach (4x5). 6 A
C i r c l e . West Palm Beach (4x5), 6 В
Barber shop cutout no. 2, W e s l Palm Beach (2%хЗ'/«), 7 A
Ironing board cutout, Miami Beach (4x5), 7 В
Posing bench. West Palm Beach (4x5), 8
M a n o n a church porch, W e s l Palm Beach (4x5), 9
Porch a n d chairs. West Palm Beach <4x5), 10
Billboards, W e s l Palm Beach (4x5), 11
Violins. Philadelphia (4x5), 12
Violin patterns. Philadelphia (4x5), 13
Violin patterns cutout, Philadelphia (4x5). 14
Tree and wall, Philadelphia (4x5), 15
Artist's model, N e w York C i t y (4x5), 24
Boy and horse. Atlantic City <4x5), 42
Boy a n d dog, A r d e n , Dela. (4x5), 43
Village priest. Tavarnuzze (2,Ая2'Л. HolidayI, 78
Florentine cobbler (4x5, Holiday), 79
Four C e r m a n Cabinet Ministers (4x5, life), 82
Woman of Nazere (35mm*, Holiday). 156
Designed by Lance Hidy and A r n o l d N e w m a n .
Type set by the Monotype Composition C o . , Boston, Massachusetts.
Printed by the Archives Press, D a n b u r y , Connecticut.
Bound by A. Horowitz & S o n , Clifton, New lersey.

Arnold Newman is represented by LIGHT Gallery, New York City.

S p e c i a l t e c h n i c a l w o r k by B e r k e y К— I. C u s t o m S e r v i c e s I n c . , N e w Y o r k C i t y .

ERRATA
P a g e s 26 a n d 2 7 : t h e p o r t r a i t s o f A l f r e d S t i e g l i t z a n d G e o r g i a O ' K e e f f e w e r e
t a k e n in 1944, n o t 1942.
. I
f^M, •
' r
oks from
KONRAD ADENAUER JEA^XRP • D A V I D BEN < URIO L A R D BE К' I f IN GEORGES BRAQUE ALEXANDER CALDER

G I O R G I O DE CHIRICO |EAN C O C T E A U • NOEL COWARD U V / \ n « )R DAI.I M A R C I! D U C H A M P D W I G H T D. E I S E N H O W E R • M A X ERNST

H E N R Y F O R D II FRANCISCO FRANCO ROBERT FROST ALBERTO G l А С О М Ш I M A R T Н А ' .K HAM GEORGE GROSZ • HAILE SELASSIE I

E D W A R D HOPPER • L Y N D O N B. J O H N S O N |AMES JONES J O H N F. K E N N E D Y W I L L E M DE K O O N I N G ALFRIED K R U P P • FERNAND LЁGER

PIET M O N D R I A N • MARILYN MONROE • HENRY MOORE • WAYNE MORSE • GRANDMA MOSES - ROBERT M O S E S • ZERO MOSTEL

JACQUES LIPCHITZ • HAROLD MACMILLAN NORMAN MAILER • JOHN MARIN • G O L D A MEIR ARTHUR MILLER JOAN MIRO

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LEWIS M U M F O R D LOUISE N E V E L S O N RICHARD M. NIXON G E O R G I A O'KEEFFE - CLAES OLDENBURG EUGENE O'NEILL

J. R O B E R T O P P E N H E I M E R I. M . PEI • P A B L O PICASSO • JACKSON POLLOCK AYN RAND M A N RAY SUGAR RAY ROBINSON

ELEANOR ROOSEVELT GEORGES ROUAULT HELENA RUBINSTEIN EERO SAARINEN CARL S A M D B U R G BEN S H A H N JOHN SLOAN||

ЗДКШШШтШдо STEVENSON A L F R E D STIEGLITZ IGOR STRAVINSKY • LEO SZILARD • A R N O L D TOYNBEE • H A R R Y S. T R U M A N