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Student Artwork Guide

Pagan Void

Name Class Date

Barnett Newman, Pagan Void (1946). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Barnett Newman originaluniqueart.com/en/artists/barnett-newman/
Artist’s dates
1905 – 1970
Painted
1946
Original size
87 x 100 cm
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.

In context

Pagan Void — Barnett Newman

How big is it?

The original measures 87 × 100 cm (height × width), drawn here beside an adult of average height.

When was this painted?

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

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 65 at death.

Painted when the artist was 41. The artist lived to 65. 3 of the 55 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Barnett Newman (1905–1970) ▲ this work, 1946 every dated painting, decade by decade

First works: up to 1950 Main working years: 1950–1965 Late works: from 1965

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Black Fire I, 1963 originaluniqueart.com/en/art/barnett-newman-black-fire-i-8XXPNS-en/
  • Prometheus Bound originaluniqueart.com/en/art/barnett-newman-prometheus-bound-D3YGEL-en/
  • Onement I, 1948 originaluniqueart.com/en/art/barnett-newman-onement-i-D3JBV3-en/

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: originaluniqueart.com/en/art/similar/barnett-newman-pagan-void-D38RMH-en/

Colours

Measured from the image

    Main colour

    Teal #116e62

    Catalogued palette

    • #116E62
    • #BBCEC0
    • #6C818D
    • #38443C

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Teal
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced 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.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Barnett Newman over the last twelve months — 8 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 54.3%
    2. 2 United States of America 19.6%
    3. 3 France 10.9%
    4. 4 United Kingdom 6.5%
    5. 5 Chile 2.2%
    6. 6 Germany 2.2%
    7. 7 Mexico 2.2%
    8. 8 Malaysia 2.2%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Barnett Newman

    1. 1 Vir Heroicus Sublimis, 1950 25.6%
    2. 2 Prometheus Bound 15.1%
    3. 3 Black Fire I, 1963 11.6%
    4. 4 Dionysius, 1949 5.8%
    5. 5 Canto VII, 1963 4.7%
    6. 6 Onement I, 1948 4.7%
    7. 7 Be I, 1970 2.3%
    8. 8 Canto XIV, 1964 2.3%
    9. 9 Jericho, 1969 2.3%
    10. 10 Seventh Station, 1964 2.3%
    11. 11 Broken Obelisk, 1969 2.3%
    12. 12 Canto XII, 1964 2.3%
    13. 13 Onement I 2.3%
    14. 14 Untitled, 1946 2.3%
    15. 15 Be I, 1970 2.3%
    16. 16 Who’s Afraid of Red, Yellow and Blue II 1.2%
    17. 17 Canto XV, 1964 1.2%
    18. 18 Voice of Fire, 1967 1.2%
    19. 19 Achilles, 1952 1.2%
    20. 21 Pagan Void, 1946 this painting 1.2%

    Together these works take 94.2% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 60 works by this artist, of which 25 were looked at at least once. This painting ranks 21 of them, with 1.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Pagan Void — Barnett Newman

    At the center of this abstract composition, a black circle is layered over an area of pale aqua, curving like a rain puddle, against a background of forest green in this nearly square painting. The edge of the black circle is lined with periwinkle blue around the bottom left half. A few streaks of the blue seep or drip into the black circle. Above the center of the large black circle, a delicate white circle is drawn around a small white dot, and a swipe of scarlet red curves around the bottom half of the white circle. The aqua form is serrated at the top right and bulges with curves and spikes around the rest of the circle. One pointed, aqua-colored spike at the bottom left is painted over with swirls and scrolls in the scarlet red and periwinkle blue. More periwinkle blue squiggles and lines are drawn against the aqua field, especially around its perimeter. The area filling the space between the aqua puddle and the edge of the canvas is pine green to the top and left, and is streaked with teal green along the bottom and right edges. The artist signed and dated the work in the lower right corner: “Barnett Newman 1946.”

    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 Pagan Void

    originaluniqueart.com/en/art/download/barnett-newman-pagan-void-D38RMH-en/

    Cite this artwork

    MLA
    Newman, Barnett. Pagan Void. 1946, https://originaluniqueart.com/en/art/barnett-newman-pagan-void-D38RMH-en/
    APA
    Newman, Barnett (1946). Pagan Void [Painting]. https://originaluniqueart.com/en/art/barnett-newman-pagan-void-D38RMH-en/
    Chicago
    Barnett Newman. Pagan Void. 1946. https://originaluniqueart.com/en/art/barnett-newman-pagan-void-D38RMH-en/
    Harvard
    Newman, Barnett (1946) Pagan Void. Available at: https://originaluniqueart.com/en/art/barnett-newman-pagan-void-D38RMH-en/

    Look closely

    Pagan Void — 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. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: abstract form, void imagery, color field”. Do you agree? What would you add, or take away?
    5. Look back at Black Fire I (1963), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

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

    Questions & Answers

    How harmonious are the colors of "Pagan Void" by Barnett Newman?

    The color harmony of "Pagan Void" is recorded as strong color unity.

    What does the 1946 date of "Pagan Void" correspond to in Barnett Newman's career?

    The 1946 date places "Pagan Void" in the Mature Period of Barnett Newman's development.

    How strong are the colors of "Pagan Void"?

    The color of "Pagan Void" is muted in saturation and balanced in intensity.