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Huile sur toile, 207 x 168 cm, 1949, Guggenheim museum, New York.
Avec des peintures telles que Sans titre (Violet, Noir, Orange, Jaune on White et Red), Mark Rothko a atteint son langage mature. Au cours des 20 années suivantes, il explorera le potentiel expressif des champs rectangulaires empilés de couleurs lumineuses. Comme d’autres artistes de l’école de New York, Rothko a utilisé des moyens abstraits pour exprimer des émotions humaines universelles, s’efforçant sincèrement de créer un art d’une intensité impressionnante pour un monde laïc.
Afin d'expliquer le pouvoir de ses toiles, certains historiens de l'art ont cité leur similitude de composition avec la peinture de paysage romantique et la décoration d'autel chrétien. Anna Chave suggère que l’intérêt précoce de Rothko pour l’iconographie religieuse est à la base de ses travaux ultérieurs. Elle voit une référence à une Vierge à l'Enfant dans Sans titre, une œuvre apparemment abstraite qui s'est développée à partir des fantasmes biologiques surréalistes qu'il peignait au début des années 1940. Pour Chave, les peintures matures telles que Sans titre (Violet, Noir, Orange, Jaune sur Blanc et Rouge) englobent métaphoriquement le cycle de la vie du berceau à la tombe, en partie en abritant une référence oblique aux adorations et aux mises au tombeau. Les rectangles empilés peuvent être lus verticalement comme une Vierge abstraite divisée en deux par des divisions horizontales qui indiquent le Christ couché. Même sans l’argument de Chave, il est clair que Rothko espérait exploiter la grandeur de la peinture religieuse. Les principes de frontalité et d'imagerie iconique dans ses œuvres de maturité sont communs aux retables traditionnels, et les deux formats ont des dimensions et des proportions similaires. Souvent plus grandes qu’un être humain, les toiles de Rothko inspirent le genre d’émerveillement et de révérence traditionnellement associé à la peinture monumentale religieuse ou paysagère.
Ce sont les voiles euphoriques de couleurs pures et diaphanes de Rothko qui ont amené les critiques à le féliciter comme un sensualiste et un coloriste, ce qui l’a peiné parce qu’il croyait que ses champions avaient perdu de vue ses intentions sérieuses. Pour lui, les toiles mettaient en scène une violente bataille d’opposés – vertical contre horizontal, couleur chaude contre froid – invoquant les conflits existentiels de la modernité. Les Peintures noires, commencées l’année précédant le suicide de l’artiste, confirment la conviction de Rothko selon laquelle son œuvre englobait la tragédie. La désolation de toiles telles que Sans titre (Noir sur Gris), vidées de leurs couleurs et étouffées par une bordure blanche, plutôt que de suggérer les formes flottantes ou les couches voilées de ses œuvres antérieures, indiquent que, comme l'affirmait Rothko, ses peintures sont la mort (cf. Jennifer Bénédiction, Guggenheim museum).
Love spending time in Houston's beautiful and tranquil Museum District - it is the pearl of the city. This photo was shot early morning around 0800 in late January... one of those perfect HTX "winter" days with no humidity, a cool breeze, bright sun, and clear skies. Barnett Newman's sculpture, "Broken Obelisk," sits in the foreground in front of the Rothko Chapel.
The Rothko Chapel is a non-denominational chapel in Houston TX, founded by John and Dominique de Menil. The interior serves not only as a chapel, but also as a major work of modern art. On its walls are fourteen black but color-hued paintings by Mark Rothko.
From Barnett Newman's website: Broken Obelisk, also commonly referred to as Black Needle, is a steel sculpture designed by American abstract expressionist Barnett Newman (1905 - 1970).
The artist made several other sculptures, but this one is probably his most monumental work. The needle is constituted of three tons of weathering steel, weighs 6000 pounds, and stands 25 feet tall. It was fabricated between 1963 and 1969.
The subject of the artwork clearly refers to many aspects of Ancient Egyptian monuments. The shape of the sculpture's base is a pyramid, visually similar to the ones in Giza, Egypt. Resting on it there's another Egyptian symbol, an inverted obelisk precariously balancing on the pyramid's top.
The base of the inverted obelisk that constitutes the sculpture's summit looks damaged as if it was roughly extracted from the ground.
The two parts of the sculpture connect at a very little space of just two inches and a quarter. At first sight, this junction point seems to be going against physics' law, but in reality, the whole sculpture is stabilised by a steel rod hidden in the monument's trunk.
The meaning of Broken Obelisk has frequently been debated by art critics. In Ancient Egypt, pyramids and obelisks were considered symbols of death; the former ones were the tombs of the pharaohs, while the latter ones referred to the unearthly entity of Ra, the solar god. Despite the meaning that these symbols carried along through centuries, Barnett Newman decided to reinvent their connotation and utilise them to communicate transcendence and life.
According to the artist, this sculpture was designed without thinking about a particular site and it doesn't commemorate a specific artwork or person in history.
Many experts defined the sculpture a universal monument to the whole humanity, describing its shapes and meaning as global ones. The artwork is by no means "expressive," but it's the silence that lies inside it that enables a wider range of possible meanings and interpretations.
Robert Hughes (1938 - 2012), a famous art critic wrote: "Broken Obelisk, perhaps the best American sculpture of its time, is Newman's meditation on ancient Egypt."
Hughes believes that with "Broken Obelisk" Newman managed to bypass the Western associations of broken columns and pyramids with death and moreover produce a symbol of transcendence that firmly announces life.
The Broken Obelisk was so well received that after the first one, other versions of it were created. Nowadays a total of four multiples of the sculpture exist.
The first two copies were fabricated in Connecticut between 1966 and 1967 and first appeared during the 1967 exhibit "Scale and Content" outside the "Corcoran Gallery of Art" in Washington D.C. and in front of New York City's "Seagram Building."
The third multiple was fabricated in 1969 after some improvements to the monument's structure. It is currently exposed in the Museum of Modern Art as a piece of the gallery's permanent collection.
The fourth multiple was commissioned in 2003 after Newman's death with the permission of the "Barnett Newman Foundation." It was completed in 2006 and was installed in Berlin in front of the "Neue Nationalgalerie" before being acquired by the "Storm King Art Center."
During the summer of 2014, all four versions of "Broken Obelisk" were exposed in the United States at the following locations: The Rothko Chapel in Houston; Red Square at the University of Washington in Seattle; The Museum of Modern Art in New York City; and The Storm King Art Center in New Windsor, New York.
An accidental double exposure. The first picture was taken at the San Francisco MOMA in front of a stunning Rothko piece. Both were taken with my Mamiya RB67 Pro S with a 90mm lens with the 120 film back.
this is a replic of the original mark rothko chapel in the u.s..
i love mark rothko very much, every time i see his pictures they touch my very deep. to understand his quality you have to see his art in rl. only the originals have the mystic power. but the sl chapel is built very well und i hope you will visit this place. and if there is a chance to see rothko´s art in rl - run!
edit: not longer to find in sl...
edit: may 2010: 1431 views. ty.