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Mark Rothko, Red Band, 1955.
Face one of the vast canvases created by Mark Rothko (1903-1970) and you feel yourself being sucked into his world.
Now an exhibition at Gemeentemuseum Den Haag / The Hague.
More Rothko at
In the tower of the East Building of the National Gallery. Paintings by Mark Rothko.
At left, "No. 6 (?)" (1964, oil, acrylic and mixed media on canvas); at right, "No. 2" (1964, mixed media on canvas).
Aquarelle sur papier , 64 x 48 cm, 1944, collection Phillips, Washington.
Cette œuvre sombre est sans aucun doute l’une de ses œuvres d’art les plus extraordinaires. Aubade reflète les circonstances difficiles du monde, tel qu'elle a été créée en 1944 vers la fin de la Seconde guerre mondiale. L’œuvre évoque la bataille existentielle de la génération actuelle dans une époque extrêmement compliquée. Simultanément, dans la crudité du moment, la technique s’apparente à l’Arte Povera. Il s'agit d'une sorte de collage sur papier, utilisant des éléments de base et des accidents créés par le papier lui-même. Petit à petit, il se détache de la représentation et expose clairement les marques de ce qui sera dans le futur la manière caractéristique de peindre de Rothko.
Les transparences, le rectangle comme objet pictural, se transforment en un extérieur de la réalité. Dans ce tout nouveau où la couleur domine incontestablement en tant que protagoniste, une certaine sensation est créée, un phénomène distinctif dans lequel la pièce devient une structure unique de couleur. Cet objet qui flotte sur le mur semble s'écarter de toute restriction, comme s'il était sur le point de s'envoler à tout moment. Donald Judd a laissé entendre que Rothko n'avait réalisé rien de moins que la création d'une "nouvelle réalité et d'une nouvelle intégralité (cf. Donald Judd, Complete Writings, Eindhoven: Van Abbemuseum, 1987) (cf. collection Phillips).
I walked with my boss to pick up lunch, and on the way back spotted this beautiful, red Chevy truck parked in front of a blue adobe wall. I ate my lunch as fast as I could and sped home to grab my camera in the hopes that it would still be there when I got back. It was. I took 120 shots, and these are my favorites.
"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
Byetone
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GMA Chapel ...
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