View allAll Photos Tagged ROTHKO
"Untitled [White, Blacks, Grays on Maroon], 1963. "
- Painting by Mark Rothko
One of the lesser known works of Rothko. On display at Kunsthaus, Zürich.
Shot on 27th May, 2006.
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A break from the usual stuff. For once, I want you all to see something that is not mine.
View fullsize to get an idea of the shades and hues.
A high-resolution photograph can be found here.
3 of 10, oh well, more showed up...will have to wait...
Mark Rothko American, born Russia ( now Latvia). 1903 - 1970
No. 16 (Red, Brown, and Black) 1958
Oil on canvas
Mrs. Simon Guggenheim Fund, 1959
In 1943, Rothko, with his friend the painter Adolph Gottlieb, wrote several philosophical statements that would continue to guide his painting for years to come: “We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.” The scale and surface of this painting reflect these ideas. Rothko abandoned traditional Renaissance three-point perspective, which conceives of the canvas as a window onto another world. Multiple glazes of dark pigments of varying opacity result in a picture surface that seems flat yet quivers and vibrates, offering a sense of atmospheric depth. Rothko hoped that these compositional strategies would invite visual and emotional contemplation, creating the conditions for silence and reflection.
From the Placard: MoMA Museum of Modern Art, New York, NY
2 of 10, so, he's reading the placard...no one else here...will wait him out.
Mark Rothko American, born Russia ( now Latvia). 1903 - 1970
No. 16 (Red, Brown, and Black) 1958
Oil on canvas
Mrs. Simon Guggenheim Fund, 1959
In 1943, Rothko, with his friend the painter Adolph Gottlieb, wrote several philosophical statements that would continue to guide his painting for years to come: “We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.” The scale and surface of this painting reflect these ideas. Rothko abandoned traditional Renaissance three-point perspective, which conceives of the canvas as a window onto another world. Multiple glazes of dark pigments of varying opacity result in a picture surface that seems flat yet quivers and vibrates, offering a sense of atmospheric depth. Rothko hoped that these compositional strategies would invite visual and emotional contemplation, creating the conditions for silence and reflection.
From the Placard: MoMA Museum of Modern Art, New York, NY
4 of 10,..oh!..whats this, oh well.
Mark Rothko American, born Russia ( now Latvia). 1903 - 1970
No. 16 (Red, Brown, and Black) 1958
Oil on canvas
Mrs. Simon Guggenheim Fund, 1959
In 1943, Rothko, with his friend the painter Adolph Gottlieb, wrote several philosophical statements that would continue to guide his painting for years to come: “We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.” The scale and surface of this painting reflect these ideas. Rothko abandoned traditional Renaissance three-point perspective, which conceives of the canvas as a window onto another world. Multiple glazes of dark pigments of varying opacity result in a picture surface that seems flat yet quivers and vibrates, offering a sense of atmospheric depth. Rothko hoped that these compositional strategies would invite visual and emotional contemplation, creating the conditions for silence and reflection.
From the Placard: MoMA Museum of Modern Art, New York, NY