1958, Mark Rothko, No. 24 (Brown, Black and Blue) -- San Francisco Museum of Modern Art
From the museum label: Three forms, softened and enlivened by their flickering, brushy edges, appear to hover over a deep cadmium-red ground. The hues act in concert with the weight of the forms, the application of the paint, and the size of the canvas to suggest a hazy, enveloping environment. Rothko unveiled a variety of works with this structure at his seminal solo exhibition at Betty Parsons Gallery, New York, in January 1950. Made eight years later, No. 24 (Brown, Black and Blue) shows how he continued to explore the seemingly simple three-part composition and push it to increasingly dramatic and evocative ends.
1958, Mark Rothko, No. 24 (Brown, Black and Blue) -- San Francisco Museum of Modern Art
From the museum label: Three forms, softened and enlivened by their flickering, brushy edges, appear to hover over a deep cadmium-red ground. The hues act in concert with the weight of the forms, the application of the paint, and the size of the canvas to suggest a hazy, enveloping environment. Rothko unveiled a variety of works with this structure at his seminal solo exhibition at Betty Parsons Gallery, New York, in January 1950. Made eight years later, No. 24 (Brown, Black and Blue) shows how he continued to explore the seemingly simple three-part composition and push it to increasingly dramatic and evocative ends.