Barnett Newman (1905-1970), Untitled

Barnett Newman (1905-1970)
Untitled
oil on canvas
36 1/8 x 24 1/4 in. (91.8 x 61.6 cm.)
Painted in 1945.

Provenance
The artist
Annalee Newman, New York
PaceWildenstein, New York
Evelyn D. Haas, San Francisco, 1994
Her sale; Christie's, New York, 8 May 2012, lot 6
Acquired at the above sale by the present owner

Pre-Lot Text
Property from an Important Private Collection

Literature
J. McLean, "Of Limited Means," The Guardian, 28 June 1972, p. 12.
B. G. Paskus, "The Theory, Art and Critical Reception of Barnett Newman," Ph.D. dissertation, University of North Carolina at Chapel Hill, 1974, pp. 74-75.
H. Rosenberg, Barnett Newman, New York, 1978, p. 44, no. 21 (illustrated in color).
B. Richardson, Barnett Newman: The Complete Drawings, 1944-1969, exh. cat, Baltimore Museum of Art, 1979, p. 46.
F. Meyer, "Zur Gültigkeit des Christusbildes in der ungegenständlichen Kunst: Die Kreuzwegstationen Barnett Newmans," Kirche und Kunst, no. 2, June 1982, p. 63.
H. Rosenberg, Barnett Newman, New York, 1994, p. 44, no. 21 (illustrated in color).
S. Egenhofer, The Sublime is Now: Zu den Schriften und Gesprächen Barnett Newmans, Koblenz, 1996, p. 54.
M. McNickle, "The Mind and Art of Barnett Newman," Ph.D. dissertation, University of Pennsylvania, 1996, pp. 182-184.
A. Zweite, "Barnett Newman: Zim Zum II 1969/85," KölnSkulptur I, exh. cat., Cologne, Skulpturenpark, 1997, p. 67.
R. Schor, "Abkürzung auf dem Weg zum Unerreichbaren: Barnett Newman und das 'schwierigste Werk des 20.Jahrhunderts' in London," Neue Zürcher Zeitung, 19-20 October 2002, p. 49.
R. Schiff, C. Mancusi-Ungaro and J. Colsman-Freyberger, Barnett Newman: A Catalogue Raisonné, New Haven, 2004, pp. 148-149, no. 1 (illustrated in color).

Exhibited
New York, Museum of Modern Art; London, Tate Gallery; Amsterdam, Stedelijk Museum; Paris, Galeries Nationales d'exposition du Grand Palais, Barnett Newman, October 1971-December 1972, pp. 48, 52 and 95, no. 1 (New York, illustrated in color); pp. 23, 30, 33 and 66, no. 1 (London, illustrated in color); pp. 10, 36, 40, 83 and 124, no. 1 (Paris, illustrated in color).
London, Hayward Gallery, Dada and Surrealism Reviewed, January-March 1978, p. 398, no. 15.38 (illustrated).
Ithaca, Herbert F. Johnson Museum of Art, Cornell University; Tokyo, Seibu Museum of Art; New York, Whitney Museum of American Art, Abstract Expression: The Formative Years, March-December 1978, pp. 48, 96 and 139, no. 34 (illustrated in color).
Munich, Haus der Kunst, American Painting 1930-1980, November 1981-January 1982, no. 178 (illustrated).
Minneapolis, Walker Art Center; Saint Louis Art Museum; New York, Pace Gallery, The Sublime Is Now: The Early Work of Barnett Newman: Paintings and Drawings 1944-1949, March-November 1994, p. 20, no. 18 (illustrated in color).
Philadelphia Museum of Art, Barnett Newman, March 2002-January 2003, p. 126, no. 11 (illustrated in color).