View allAll Photos Tagged ROTHKO
with spat
These two were clearly having a private argument during their smoke break. That wall always reminds me of Rothko.
You were welcome in the Stedelijk Museum Schiedam to enjoy one of his top pieces, the painting Grey, Orange on Maroon, No 8 of 1960, all on your own and without your mobile phone. Nothing would have stand in the way of your intimate moment with the painting: this really is ‘Rothko and me’.
Floral Stills
Living in the city could sometimes get a little muted, no ? Surfaces are smoothed & polished; vehicles cruise through the milleu, A to B and back, with a lot of intimate contact being made only when these crash into each other.
We're domesticated in the city, a tad out of touch.
So where do you go to escape the 'package' ? Somewhere you can feel the sand under your feet, purer air in your lungs - where nature's smile is heartier.
My recent exploration of floral still life is a reaquaintace with that smile, an ongoing conversation.
Huile sur toile, 231 x 180 cm, 1956, Art museum Albright-Knox (AKG), Buffalo (New York).
A la fin des années 1940, après des années d’expérimentation, les peintures de Mark Rothko deviennent de plus en plus abstraites. À la même époque, son style caractéristique émerge également : deux ou trois rectangles posés sur un fond qui les divise simultanément les uns des autres tout en les unissant dans leur composition. Cependant, les bords des formes de Rothko ne sont jamais distincts, ce qui permet à l’œil de se déplacer de manière transparente d’une zone à l’autre. Il ne voulait pas que les spectateurs pensent à lui en découvrant ses peintures et il a essayé de supprimer les traces du processus créatif. Par exemple, il appliquait de fines couches de peinture avec un pinceau ou un chiffon sur une toile non préparée, ce qui permettait au pigment de s'imprégner et de faire partie de la surface. Ce lavis de couleur en couches a obtenu l’effet de luminescence. De plus, Rothko souhaitait exprimer ses émotions à travers sa palette, qu'il considérait comme une porte vers une autre réalité. Comme il l’explique : "Les gens qui pleurent devant mes tableaux vivent la même expérience religieuse que moi lorsque je les ai peints" (cf. Art museum de Buffalo).
7 of 10, oh, my, she almost hit my camera...
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