Paper

Student Artwork Guide

Eleventh Station

Name Class Date

Barnett Newman, Eleventh Station (1965). Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
Barnett Newman artsdot.com/en/artists/barnett-newman/
Artist’s dates
1905 – 1970
Painted
1965
Original size
198 x 152 cm
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.

In context

Eleventh Station — Barnett Newman

How big is it?

The original measures 198 × 152 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970

Shaded: the lifetime of Barnett Newman (1905–1970) ▲ this work, 1965

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/barnett-newman-eleventh-station-D38SVB-en/

Colours

Measured from the image

    Main colour

    Putty #f6eed7

    Catalogued palette

    • #F6EED7
    • #CEC8B6
    • #F5F4EF
    • #F9F2DE
    Palette
    Monochrome The dominant colour family in the image.
    Main colour name
    Putty
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    Barnett Newman

    Born in New York City, United States of America

    A Pioneer of Abstract Expressionism: The Life and Art of Barnett Newman

    Barnett Newman, born in 1905 in New York City to Jewish immigrant parents from Poland, emerged as a pivotal figure in the landscape of American art. His journey wasn’t one of immediate recognition but rather a slow burn of artistic exploration and philosophical inquiry that ultimately redefined the possibilities of abstract painting. Initially studying at the Art Students League and later at the City College of New York, Newman absorbed the influences of his time – the burgeoning Cubism of Picasso and the vibrant color palettes of Matisse were early touchstones. However, he soon felt constrained by these established modes of representation, sensing a need to forge a new visual language capable of expressing the anxieties and spiritual longings of the post-war era. He even destroyed much of his earlier representational work, a deliberate act signifying his commitment to an entirely new artistic path. This period of self-imposed creative destruction was crucial; it cleared the ground for the radical simplicity that would come to define his mature style.

    The Birth of the “Zip” and the Expansion of Color

    Newman’s breakthrough arrived with the development of what he famously termed "zips"—vertical bands of color that bisect vast fields of monochrome hues. These weren't merely lines; they were dynamic forces, asserting presence within the expansive emptiness of the canvas. His first solo exhibition in 1943 at Betty Parsons Gallery marked a significant step, though initial reactions were mixed. It was with works like Onement VI (1950-51) that Newman truly established his signature aesthetic. The painting’s sheer scale and austere composition—a single red zip dividing the canvas into fields of orange and red—were revolutionary. Vir Heroicus Sublimis (1958-60), a monumental work, further solidified this approach, its multiple zips creating a sense of spatial depth and evoking feelings of awe and contemplation. The “zip” wasn’t simply an aesthetic device; it was a structural element that simultaneously divided and unified the canvas, acting as a symbolic marker of human presence within the infinite. Newman's work also included pieces like "Rothko by Newman", showcasing his unique style in relation to another key figure in Abstract Expressionism.

    Spirituality, The Sublime, and Philosophical Underpinnings

    Beyond mere aesthetics, Newman’s art was deeply rooted in philosophical and spiritual concerns. He rejected the notion that painting should merely depict the external world, believing instead that it could serve as a vehicle for exploring profound existential questions. He sought to capture what he called “the sublime”—an experience of overwhelming grandeur and transcendence—through his abstract forms. This wasn’t about religious iconography but rather an attempt to evoke a primal sense of awe and wonder in the viewer. Newman was profoundly affected by the horrors of World War II and the dawn of the nuclear age, believing that traditional artistic conventions were inadequate for expressing the anxieties and moral complexities of this new era. His paintings became arenas for confronting these issues, offering not answers but rather spaces for contemplation and emotional resonance. He saw his work as a rejection of societal norms and an affirmation of individual freedom, striving to create art that was both intellectually rigorous and emotionally powerful.

    Legacy and Influence on Modern Art

    Barnett Newman’s impact on the development of Abstract Expressionism—alongside contemporaries like Mark Rothko and Jackson Pollock—is undeniable. He wasn't simply a painter; he was a theorist, a writer, and an advocate for a new kind of art that prioritized emotional truth over representational accuracy. His innovative use of color and form profoundly influenced subsequent generations of artists, particularly those working in Color Field painting and Minimalism. Artists who followed found inspiration in his reductionist approach and his emphasis on the experiential qualities of art. Today, Newman’s work is held in major museums worldwide, including the Museum of Modern Art in New York and the National Gallery of Art in Washington, D.C., cementing his place as a central figure in 20th-century art history. His paintings continue to challenge and inspire viewers, inviting them to engage with fundamental questions about human existence, spirituality, and the power of abstract form.

    Further Exploration

    Key Themes: Spirituality, The Sublime, Human Existence, Post-War Anxiety.

    Influences: Henri Matisse, Pablo Picasso, Cubism, Surrealism.

    Notable Works: Onement VI, Vir Heroicus Sublimis, “Rothko by Newman”, The Song of Orpheus.

    Artistic Style: Abstract Expressionism, Color Field Painting, characterized by large fields of color and vertical "zips".

    Where to read more

    Find this online

    QR code linking to the download page for Eleventh Station

    artsdot.com/en/art/download/barnett-newman-eleventh-station-D38SVB-en/

    Cite this artwork

    MLA
    Newman, Barnett. Eleventh Station. 1965, https://artsdot.com/en/art/barnett-newman-eleventh-station-D38SVB-en/
    APA
    Newman, Barnett (1965). Eleventh Station [Painting]. https://artsdot.com/en/art/barnett-newman-eleventh-station-D38SVB-en/
    Chicago
    Barnett Newman. Eleventh Station. 1965. https://artsdot.com/en/art/barnett-newman-eleventh-station-D38SVB-en/
    Harvard
    Newman, Barnett (1965) Eleventh Station. Available at: https://artsdot.com/en/art/barnett-newman-eleventh-station-D38SVB-en/

    Look closely

    Eleventh Station — Barnett Newman

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: abstract expressionism, religious symbolism, color field painting. Do you agree? What would you add, or take away?
    4. Look back at Black Fire I (1963), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.