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Number 207 (Red over Dark Blue on Dark Gray), 1961. Oil on canvas (1903-1970) University Art Museum, Berkeley
For once, the sky was so clear in the morning, the whole thing reminds me of a Mark Rothko painting.
MARK ROTHKO (1903-1970)
Life and Work
In 1913 the Jewish family Rothkowitz Latvia immigrated to Portland in Oregon, United States. From 1921 to 1923 Mark studied at Yale University in New Haven (Connecticut). In 1925 he moved to New York where he enrolled at the Art Students League of New York and shortly painting lessons from Max Weber got. He decided to quickly evolve independently. From 1929 to 1952 he taught at the Center Academy in Brooklyn, New York.
In 1933, Rothko had his first solo exhibition at the Portland Art Museum. His artistic work of the thirties of the last century, inspired by the work of Milton Avery and Henri Matisse with simplified compositions and color planes. Together with Adolph Gottlieb and Barnett Newman he founded in 1935 on The Ten, a group of artists who tended to expressionism. From 1942 to 1947 he searched Gottlieb join the Surrealist movement.
The Rothko Chapel in Houston
Around 1947 he broke with surrealism, and he turned to abstraction. His canvases contain, on a uniform colored surface, two or three rectangles in different colors, ranging in width or height, but rarely both. With Clyfford Still he gave in the summer of 1947 and 1949 taught at the California School of Fine Arts in San Francisco. From 1948 to 1949 he worked with William Baziotes, David Hare, Robert Motherwell and Barnett Newman in The Subjects of the Artist, an art school in New York, which was initiated by Clyfford Still. From 1951 to 1954 he worked at the Art Department of Brooklyn College in New York. His later work in the fifties and sixties were increasingly gloomy color. He worked now with series of paintings, as seen in the Suites of the Rothko Chapel in Houston and the Seagram Murals in New York.
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Taken this afternoon at the Rothko exhibition at Tate Modern, London. Processed with Camerabag app to get the b/w effect.
The painting the men are looking at is from Rothko's so called "black form" series; the paintings initially appear to be entirely black, but look at them for a bit longer and it's clear they're a more complex mix of shades and textures. Parts of the painting absorb lots of light, others are shiny and reflect it; parts are covered thickly with multiple layers, others more sparingly treated, while the size of the painting means that when close to it, it also fills your peripheral vision and this generates some really interesting opticial illusion type effects.
Update: I entered this into a competition to find an image that reflected George Orwell's novel 1984, and it won :)
Huile sur toile, 231 x 139 cm, 1953, collection Phillips, Washington.
Vert et Marron a été exécuté au milieu des années 1950, lorsque l'artiste a peint de nombreuses grandes toiles. Les autres œuvres de cette période ont toutes un format similaire, mais leur ambiance varie considérablement, en fonction de leur couleur et de leurs proportions internes.
Rothko détestait être considéré comme un artiste abstrait formaliste dont l'intention première était d'organiser des champs de couleurs sur une toile plate. Il insistait sur le fait que son art concernait la distillation de l'expérience humaine, à la fois tragique et extatique, jusqu'à sa forme la plus pure (cf. collection Phillips).