Human Generated Data

Title

Proof of introductory text for the Cantos, with artist's corrections

Date

20th century

People

Artist: Barnett Newman, American 1905 - 1970

Classification

Archival Material

Credit Line

Harvard Art Museums/Straus Center for Conservation and Technical Studies, Gift of the Barnett and Annalee Newman Foundation, 2007.100.1

Copyright

© The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York

Human Generated Data

Title

Proof of introductory text for the Cantos, with artist's corrections

People

Artist: Barnett Newman, American 1905 - 1970

Date

20th century

Classification

Archival Material

Credit Line

Harvard Art Museums/Straus Center for Conservation and Technical Studies, Gift of the Barnett and Annalee Newman Foundation, 2007.100.1

Copyright

© The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York

Machine Generated Data

Tags

Amazon
created on 2022-02-19

Book 100
Page 100
Text 100
Paper 91.8
Flyer 86.8
Brochure 86.8
Poster 86.8
Advertisement 86.8

Clarifai
created on 2023-10-28

page 99.9
text 99.7
no person 99.6
booklet 99.2
information 98.5
poetry 97.6
paper 97.5
layout 97.2
magazine 97.1
facts 93.4
print 93.4
two 92
education 91
presentation 90.9
document 90.7
recreation 90.6
template 89.1
writing 89.1
form 88.8
war 87.7

Imagga
created on 2022-02-19

book 41.5
text 28.9
paper 26
design 25.9
creation 24.2
business 23.1
old 22.3
page 22.3
reflection 21.8
picture 21.3
creative 21.2
decorative 20.9
graphic 20.5
document 20.4
artwork 20.2
association 19.7
definition 19.6
cover 19.5
art 18.8
letter 18.4
journal 18.3
antique 17.8
information 17.7
bible 17.7
religion 17.1
representation 17
idea 16.9
menu 16.9
bookmark 16.9
product 16.6
data 16.5
prayer 16.4
read 16.4
vintage 15.7
element 15.7
education 15.6
cloud 15.5
decoration 15.2
religious 15.1
brochure 14.6
print 14.2
backdrop 14
holy 13.5
open 13.5
advertising 13.4
advertisement 12.6
drawing 12.5
ink 12.5
god 12.5
word 12.3
composition 12.3
detail 12.1
template 11.9
collection 11.7
collage 11.6
copy 11.5
decor 11.5
newspaper 11.5
conceptual 11.5
binding 11.4
blank 11.3
ancient 11.3
associated 10.9
black 10.8
carpet 10.7
advertise 10.7
faith 10.5
writing 10.4
card 10.2
symbol 10.1
fare 10.1
testament 9.9
retro 9.8
notebook 9.7
new 9.7
pray 9.7
spiritual 9.6
communication 9.3
texture 9
emphasize 8.9
felt 8.9
fluorescent 8.9
dye 8.8
book jacket 8.6
draw 8.6
frame 8.5
modern 8.4
company 8.4
church 8.3
aged 8.2
history 8.1
chapter 7.9
highlight 7.9
keywords 7.9
bright 7.9
important 7.9
pages 7.8
news 7.8
corporate 7.7
cross 7.5
office 7.5
study 7.5
highlighter 7.4
ornate 7.3
border 7.2
world 7.1

Google
created on 2022-02-19

Font 81.8
Material property 80.1
Publication 76.4
Paper 69.5
Paper product 67.2
Book 63.4
Document 61.2
Rectangle 60.8
Parallel 59.5
Letter 54.8

Microsoft
created on 2022-02-19

text 99.9
letter 94.2
book 77
document 27

Color Analysis

Feature analysis

Amazon

Book
Book 100%

Categories

Imagga

text visuals 100%

Captions

Microsoft
created on 2022-02-19

text 99.8%

Text analysis

Amazon

that
how
organic
printing
have
their
draw-using
each
the
does,
they
also
what
time,
and
margins
magnetized
made
stone
additional
worked
clarity
works
individual
for
in
join
form
an
paint
it
symphonic
same
litho-
full
(and
one
graphic stone that magnetized the challenge that lithography has had
canto
To
always
has
graphic
adds
To Annalee
say
to
as they join in their interplay, their symphonic mass lends additional
lithography
should
clarity to each individual canto, and at the same time, each canto adds
had
Annalee
challenge
at
lends
from
whole-so
no
its
separate
No
other, they also form an organic whole-so that as they separate and
mass
way
for me from the very beginning. No matter what one does, no matter
as
completely
I should say that it was the margins made in printing a litho-
matter
song
me
very
interplay,
how completely one works the stone (and I have always worked the
stone the same way I paint and draw-using
was
a
canto,
beginning.
its song to the full chorus.
other,
I
chorus.

Google

To Annalee I should say that it was the margins made in printing a litho- graphic stone that magnetized the challenge that lithography has had for me from the very beginning. No matter what one does, no matter how completely one works the stone (and I have always worked the stone the same way I paint and draw-using the area-complete), the stone, as soon as it is printed, makes an imprint that is surrounded by inevitable white margins. I would create a totality only to find it change after it was printed-into another totality. Theoretically a lithograph consists of the separation between the imprint and the paper it is on. Unfortunately it never works that way for me. There is always the in- evitable intrusion (in my lithograph at least) of the paper frame. To other, they also form an organic whole-so that as they separate and as they join in their interplay, their symphonic mass lends additional clarity to cach individual canto, and at the same time, each canto adds crop the exdruding paper or to cover it with a mat or to climinate all gins by "bleeding" (printing on papers smaller than the drawing on the stone) is an evasion of this fact. It is like cropping tofa painting. It is success by mutilation. The struggle to overcome this intrusion-to give the imprint its necessary scale so that it could have its fullest expression, (and I feel that the matter of scale in a lithograph has usually not been consid- ered) so that it would not be crushed by the paper margin and still have a margin-that was the challenge for me. That is why each canto has its own personal margins. In some, they are small, in others large, still in others they are larger on one side and the other side is mini- mal. However, no formal rules apply. Each print and its paper had to be decided by me and in some cases the same print exists with two different sets of margins because each imprint means something dif- ferent to me. In painting, I try to transcend the size for the sake of scale. So here I was faced with the problem of having each imprint transcend not only its size but also the white frame to achieve this sense of scale. These eighteen cantos are then single, individual expressions, each with its unique difference. Yet since they grew one out of the its song to the full chorus. I must explain that I had no plan to make a portfolio of "prints". I am not a printmaker. Nor did I intend to make a "set" by intro- ducing superficial variety. These cantos arose from a compelling ne- cessity-the result of grappling with the instrument. To me that is what lithography is. It is an instrument. It is not a "medium"; it is not a poor man's substitute for painting or for draw- ing. Nor do I consider it to be a kind of translation of something from one medium into another. For me, it is an instrument that one plays. It is like a piano or an orchestra, and as with an instrumen interprets. And as in all the interpretive arts, so in lithography, crea- tion is joined with the "playing"; in this case not of bow and string, but of stone and press. The definition of a lithograph is that it is writing on stone. But unlike Gertrude Stein's rose, the stone is not a stone. The stone is a piece of paper. I have been captivated by the things that happen in playing this litho instrument; the choices that develop when changing a color or the paper-size. I have "played" hoping to evoke every possible in- strumental lick. The prints really started as three, grew to seven, then eleven, then fourteen, and finished as eighteen. Here are the cantos, eighteen of them, each one different in form, mood, color, beat, scale and key. There are no cadenzas. Each is separate. Each can stand by itself. But its fullest meaning, it seems to me, is when it is seen together with the others. It remains for me to thank Cleve Gray for bringing me to lithography, particularly at the time he did, Tatyana Grosman for her devotion and encouragement and patience in my behalf and to Zigmunds Priede for his sympathetic cooperation on the press. Barnett Newman
To
Annalee
I
should
say
that
it
was
the
margins
made
in
printing
a
litho-
graphic
stone
magnetized
challenge
lithography
has
had
for
me
from
very
beginning.
No
matter
what
one
does,
no
how
completely
works
(and
have
always
worked
same
way
paint
and
draw-using
area-complete),
stone,
as
soon
is
printed,
makes
an
imprint
surrounded
by
inevitable
white
margins.
would
create
totality
only
to
find
change
after
printed-into
another
totality.
Theoretically
lithograph
consists
of
separation
between
paper
on.
Unfortunately
never
me.
There
in-
evitable
intrusion
(in
my
at
least)
frame.
other,
they
also
form
organic
whole-so
separate
join
their
interplay,
symphonic
mass
lends
additional
clarity
cach
individual
canto,
time,
each
canto
adds
crop
exdruding
or
cover
with
mat
climinate
all
gins
"bleeding"
(printing
on
papers
smaller
than
drawing
stone)
evasion
this
fact.
It
like
cropping
tofa
painting.
success
mutilation.
The
struggle
overcome
intrusion-to
give
its
necessary
scale
so
could
fullest
expression,
feel
usually
not
been
consid-
ered)
be
crushed
margin
still
margin-that
That
why
own
personal
In
some,
are
small,
others
large,
larger
side
other
mini-
mal.
However,
formal
rules
apply.
Each
print
decided
some
cases
exists
two
different
sets
because
means
something
dif-
ferent
painting,
try
transcend
size
sake
scale.
So
here
faced
problem
having
but
frame
achieve
sense
These
eighteen
cantos
then
single,
expressions,
unique
difference.
Yet
since
grew
out
song
full
chorus.
must
explain
plan
make
portfolio
"prints".
am
printmaker.
Nor
did
intend
"set"
intro-
ducing
superficial
variety.
arose
compelling
ne-
cessity-the
result
grappling
instrument.
is.
"medium";
poor
man's
substitute
painting
draw-
ing.
do
consider
kind
translation
medium
into
another.
For
me,
instrument
plays.
piano
orchestra,
instrumen
interprets.
And
interpretive
arts,
lithography,
crea-
tion
joined
"playing";
case
bow
string,
press.
definition
writing
stone.
But
unlike
Gertrude
Stein's
rose,
piece
paper.
captivated
things
happen
playing
litho
instrument;
choices
develop
when
changing
color
paper-size.
"played"
hoping
evoke
every
possible
strumental
lick.
prints
really
started
three,
seven,
eleven,
fourteen,
finished
eighteen.
Here
cantos,
them,
form,
mood,
color,
beat,
key.
cadenzas.
separate.
can
stand
itself.
meaning,
seems
seen
together
others.
remains
thank
Cleve
Gray
bringing
particularly
time
he
did,
Tatyana
Grosman
her
devotion
encouragement
patience
behalf
Zigmunds
Priede
his
sympathetic
cooperation
Barnett
Newman