臺灣博碩士論文加值系統

摘要
在巴爾內特．紐曼他自己批判性的寫作，紐曼常常焦距在原始藝術。沒有是它可以包容去表達最深層並且可能最正直的感情：「我們，活在最差最恐懼的時代，這個世界讓我們去了解，是在一個位置上去激賞精明知覺，開啟情緒上印象：易受感動，有所知覺的人才能擁有這一切。」在紐曼年代的藝術家們讚嘆容易了解，有時候是多樣的本土藝術傳統的自然的形式。這個連結在原始主義和現代主義之間，已經是很好的建立，紐曼自己判斷易受性智性上，然而，引出不只是對形式的興趣，而是超出這些，他所宣昭「主題」(subject matter)。
紐曼提供一個哲學上生存道理的寫作，他可以要求他自己血漿印象(The Plasmic Image)。紐曼認為《一，1》(OnementⅠ)是他生涯上最大的突破，對他藝術作品而言。而且是一個全新的開始。
首先，一些繪畫有黑色如同條紋，或者是拉鍊(zips)。當他開始去呼喚它們，指稱或者是這個聲音，膠帶隱藏製作，當帶子在空間上無限的被拉遠。經由如此混雜調和熔化空間經驗與這樣的時間，紐曼到達了這個描述，最適合的是他自己繪畫作法的意向實行－這給予觀看的人(畫家，首先最重要的)，這個圖畫的存有部分的經驗，就好像你已經得到你自己的內在，就好像你可以看見自己的意識的顯示理解，當這個運用繪畫的藝術的過程是被創造的，所以繪畫者也是。
事實上強調這可能是公平的說紐曼創造他的藝術作品夾帶他的陳述、他的政治觀點，在他的心中。他稱他自己是一個市民藝術家(artist-citizen)，像他其它喜愛的觀點，這是一個可以呈現出沒有道德缺失在一開始，但是發生或存在起因充滿表達一個拒絕或相反的陳述深義，藝術家們是極度個體獨自的，就事實對照比較而言，市民權強制必須不得已的陷入工作為團體的時空上更遠更進一步。
在幾個十年後，後現代主義思想家強．封朗斯瓦．李歐塔(Jean-François Lyotard,1924-1998)是寫這樣在：「崇高的美學」......「前衛媚俗的邏輯」找到它的原理。這是清楚的從這個方向，談論紐曼兩個概念賦予分開兩個觀念相反至兩極端。亞瑟．C．丹托(Arthur C.Danto,1924-)是談論在藝術、語言和文化。丹托的「美與崇高」和巴爾內特．紐曼的觀念相比較。

Abstract
In his own critical writings, Newman often focused on primitive art, nothing its capacity to express the most intense and perhaps most honest emotion,: “We, living in times of the greatest terror the world has known, are in a position to appreciate the acute sensibility primitive man had for it”. Artists of Newman’s generation admired the simplified, sometimes crude forms of the various native art traditions; the link between “primitivism” and modernism was already well established. Newman’s own appreciation, however, derived not so much from formal interest but rather from what he called “subject matter,”
Newman offered a philosophical regimen of writing that he would impose on himself－“The Plasmic Image”. Newman regarded (OnementⅠ) as marking a breakthrough for his work, and a new beginning. The first several paintings have black as well as stripes or“zips,”as he came to call them, referring perhaps to the sound that masking tape makes when it is pulled away. By thus conflating the experience of space with that of time, Newman arrived at the description that best suits the intended effect of his mode of painting－it gives the viewer (the painter, first of all) the experience of being part of the picture, as if you had gotten inside of yourself, as if you could see your own consciousness emerging. As the painting is created, so is the painter.
Indeed it might be fair to say that Newman created his works with the state, the polity, in mind. He called himself an “artist-citizen.”Like his other favored terms, this one may appear innocent at first but eventually bristles with contradictory connotations. Artists are extreme individuals, whereas citizenship entails working for the furtherance of the group.
Some decades later, the post-modernist thinker, Jean-Francois Lyotard, was to write that in the “aesthetic of the sublime...the logic of the avant-garde finds its axioms.”And it is clear from the way in which Newman polarizes the two concepts. Arthur C. Danto spoke on art, language, and culture. “Beauty and sublimity” compare with Barnett Newman’s concepts.

目錄
中文論文摘要---------------------------------------------Ⅰ
英文論文摘要---------------------------------------------Ⅱ
誌謝辭-------------------------------------------------- Ⅲ
目錄-----------------------------------------------------Ⅴ
圖目錄------------------------------------------------- Ⅶ
第一章 緒論-------------------------------------------- P.1
第一節 研究動機---------------------------------------- P.3
第二節 對象說明---------------------------------------- P.5
第三節 文獻回顧---------------------------------------- P.7
第四節 問題意識--------------------------------------- P.12
第五節 研究方法與論文架構----------------------------- P.15
第二章 巴爾內特．紐曼(Barnett Newman)的生平。--------- P.17
第一節 求學到經濟大恐慌(Stock market crash)。(1905-1929P.20
第二節 潛伏期到二次大戰結束。(1930-1954)-------------- P.24
第三節 和合期。(1946-1970)---------------------------- P.33
第三章 紐曼藝術批評理論文獻解讀------------------------P.36
第一節 紐曼對紐約城市進行政治式原始主義寫作。----------P.38
第二節 從紐曼的書寫中，探究紐曼對藝術界和對藝術本身想法。尤其從崇高(The Sublime)的觀念、主題(subject-matter)的觀念和美(Beauty)的探討。----------------------------------------P.41
第三節 紐曼對自己作品的創作論述和藝術批評以繪畫、雕塑、版畫、建築和極簡主義(minimalism)的關係。------------------P.48
第四節 論述紐曼本身的藝術批評理論在藝評的定位。------- P.52
第四章 總結------------------------------------------- P.55
參考文獻------------------------------------------------P.58
附錄 巴爾內特．紐曼(Barnett Newman)年------------------ P.63
圖版索引----------------------------------------------- P.69
紐曼原稿翻譯兩篇---------------------------------------P.72
作者簡介------------------------------------------------P.81

參考文獻
英文文獻
Anfam, David. Abstract Expressionism, London: Thames & Hudson , 2002.
Auping, Michael. Declaring space; Mark Rothko, Barnett Newman, Lucio Fontana, Yves Klein, Texas: Modern Art Museum of Fort Worth in association with Prestel, 2007.
Barber, Bruce. Guilbaut, Serge. O’Brian, John. Voices of fire, art, rage, and the state, Toronto: University of Toronto Press, 1996.
Barrett, Terry. Criticizing Art-Understanding the Contemporary, Mountain View ,California: Mayfield,2000.
Burke, Edmund. A Philosophical Enquiry into the Sublime and Beautiful, London: Routledge, 2008.
C. Danto, Arthur. After The End of Art-Contemporary Art and the Pale of History, New Jersey: Princeton University Press, 1997.
C. Danto, Arthur. The Abuse of Beauty-Aesthetics and the Concept of Art, Chicago and La Salle, Illinois: The Paul Carus Lecture Series 21, 2006.
C. Danto, Arthur. The Body/Body Problem-Selected Essays, Berkeley and Los Angeles, California : University of California Press, 1999.
C. Danto, Arthur. The Philosophical Disenfranchisement of Art, New York: Colombia University Press, 2005.
C. Danto, Arthur. Philosophizing Art: selected essays, Berkeley, Los Angeles,
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Della Rocca, Michael. Spinoza, New York: Routledge , 2008.
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Ho, Melissa. Reconsidering Barnett Newman, Philadelphia: Philadelphia Museum of Art, New Haven and London , Distributed by Yale University Press, 2005.
J. Lewis, Michael. American Art and Architecture, London: Thames &Hudson, 2006.
Joselit, David. American Art since 1945, London: Thames &Hudson, 2003.
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Lyotard, Jean-François. The Inhuman-Reflections on Time (L’inhumain Causeries sur le temps ) trans. Bennington, Geoffrey and Bowlby, Rachel . California: Stanford University Press, 1991.
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Shiff, Richard. Mancusi-Ungaro, Carol. Colsman-Freyberger, Heidi. Barnett Newman: A Catalogue Raisonné, New York: Barnett Newman Foundation, New Haven and London, Yale University Press, 2004.
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法文文獻
Bonn,Sally. l’expérience éclairante sur Barnett Newman, Bruxelles, Belgique: La Lettre volée, 2005.
Lyotard, Jean-François. L’inhumain Causeries sur le temps, Paris: Galilée, 1988.
Newman, Barnett. Barnett Newman les dessins 1944-1969 14 novembre 1980-4 janvier 1981 musée national d’art modern centre Georges Pompidou, Paris: Centre Georges Pompidou Musée national d’art moderne, 1980.
Poizat, Jean-Claude. L’Art-entretien avec Jean-Luc Nancy, Paris: Philosophoire, 2004.
英文期刊論文
Baigell, Mattew.“Barnett Newman’s Stripe Paintings and Kabbalah : A Jewish Take.”American Art, Vol.8 , No. 2 , (Spring,1994),pp.32-43.
Johnson, Galen A.“ From Aristotle''s Poetics to Newman''s Vir Heroicus Sublimis: The Contest Over the Origins of Art.”A Journal for the History of Philosophy, (Fall,2005), Vol. 10, Issue 1, p65-79.
Leja, Michael.“ Barnett Newman’s Solo Tango.” Critical Inquiry, 21:3, (Spring, 1995). pp. 556-580.
Newman , Annalee. and Baigell , Matthew.“Barnett Newman and the Kabbalah.” American Art, Vol. 9, No. 1, (Spring, 1995), pp. 117-118.
Rich, Sarah K.“Bridging the Generation Gaps in Barnett Newman''s Who''s Afraid of Red, Yellow and Blue? ” American Art, (Fall,2005), Vol. 19 Issue 3, p17-39.
W. Jackson, Rushing.“The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman’s Idea of Redemption in Abstract Sublime.”Art Journal, Vol. 47, No.3, (Autumn, 1998), pp.187-195.
W. Jackson, Rushing.“ Decade of Decision.” Art Journal, Vol.54, No.1, (Spring, 1995), pp.88-91.