The subject of this work, as with most works of nonobjective abstraction, is the interaction between a minimal number of severely distilled and placed elements. Content and subject are indivisible. Oil on canvas.
Line, pure color, value and shape are the only elements I can identify. The dark stroke is just barely wider than the lighter one, resulting in an equivalent sense of depth for both. However, the white stroke is surrounded by a slightly cooler field of red, which would normally cause it to sink back slightly. This doesn't really happen here. Pictorial balance is approximately symmetrical; elemental balance is nearly absolute because of the minor differences in shape widths.
Pure red dominates. All edges are crisp. At the exact vertical center of the picture plane, the field is divided into equal warm and cool halves. Line values are nearly terminally absolute, but both are calibrated in a nearly imperceptible manner with their complement to edge them slightly to the middle. Shapes vary slightly in width.
Like the establishment of space, a single center of attention is ambiguous and difficult to define in this work. Typically, this would be the side effect of a novice artist. However, in this case, it is clear Newman caused this to happen with measured, deliberate consideration. The picture plane is used to remarkable effect because it is required to set up the very minor differences in the shape widths.
This is truly a work of absolutes and absolute balance. This is accomplished through Newman's precisely considered application of space-occupying and formatting elements. In terms of appreciation, surely this is a divisive work, but it is also a case study in economy.
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