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This reminded me of Mark Rothko paintings and the amazing emotion conveyed in the abstract washes of color..
ORG XMIT: *S0421129000* Mark Rothko
Email: jbokamper@dallasnews.com
Phone: 8650
OrigName: 1190908839_0521412001190908839_1.jpg
Name: Rothko_White+Band.jpg
Byline: Private Collection
Submitter: Jerry Bokamper
Timestamp: White Band No. 27, 1954
Section: Oil on canvas
81 1/4 x 87 inches (206.4 x 221 cm)Private Collection2007-09-27 11:00:39GUIDE LIVE_NGL
09302007xGUIDELIVE
Mark Rothko - American, born Russia (now Latvia), 1903 - 1970
Untitled - 1970
East Building, Tower Level — Gallery 615-A
Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia, on September 25, 1903. His parents were Jacob and Anna Goldin Rothkowitz, and Rothko was raised in a well-educated family with Zionist leanings. At the age of ten, Rothko and his mother and sister immigrated to America to join his father and brothers, who had previously settled in Portland, Oregon. From 1921 to 1923 Rothko attended Yale University on a full scholarship and then moved to New York City. In 1924 he enrolled in the Art Students League, studying with George Bridgman and Max Weber, in whose class he befriended Louis Harris. In 1929 Rothko began teaching children at the Center Academy of the Brooklyn Jewish Center, a position he retained for more than twenty years.
He was given his first one-man exhibition in 1933 at the Museum of Art in Portland and his first in New York a few months later at the Contemporary Arts Gallery. The New York exhibition included landscapes, nudes, portraits, and city scenes. At the end of 1934 Rothko particiated in an exhibition at the Gallery Secession, whose members inluded Louis Harris, Adolph Gottlieb, Ilya Bolotowsky and Joseph Solman; several months later they left the Secession to form their own group, the Ten, which exhibited together eight times between 1935 and 1939. Rothko's paintings in the Ten's exhibitions were expressionist in style. During this period he was employed by the WPA (Works Progress Administration), where he produced many subway scenes emphasizing the isolation of the riders.
From the later 1930s to 1946 Rothko's oil and watercolor paintings reflected his interest in Greek mythology, primitive art, and Christian tragedy. Influenced by the Surrealists Miró and André Masson, among others, he explored the technique of automatic drawing in creating abstract, diaphanous forms that allude to human and animal life. In 1940, Rothko, along with his colleagues Gottlieb, Bolotowsky, and Harris, broke with the American Artists' Congress on political grounds and became founding members of the Federation of Modern Painters and Sculptors. He was given, in 1945, a one-man exhibition at Peggy Guggenheim's gallery Art of This Century, which featured his surrealist works. At the end of the year he was included in the Whitney Museum of America Art's Annual Exhibition of Contemporary American Painting. In 1948 he joined William Baziotes, David Hare, and Robert Motherwell in founding an art school, the Subjects of the Artist, which closed within a year.
By 1947 Rothko had eliminated all elements of surrealism or mythic imagery from his works, and nonobjective compositions of indeterminate shapes emerged. Within three years he reached his signature format, painting two or three soft-edged, luminescent rectangles, stacked weightlessly on top of one another, floating horizontally against a ground. Now a recognized artist of the New York School, he was given, in 1954, a one-man exhibition by the Art Institute of Chicago. In 1958 Rothko accepted his first commission for a series of paintings for the Four Seasons restaurant. He received his second commission for murals in 1961 for the Holyoke Center at Harvard University. From 1964 to 1967 Rothko worked on his third and last commission, a Roman Catholic chapel in Houston, now interdenominational, creating fourteen canvases, numerically corresponding to the Stations of the Cross. From 1968 on, he worked in acrylic on canvas and paper, reducing his palette to brown, gray, and black.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
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