View allAll Photos Tagged markrothko
Hope everybody is doing great! I have not been around this past week, hoping to have more time this week. Had to get a Sunday Sliders Post in, and then I am off to the Giants game, will be visiting throughout the day.
HSS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
A Northern Rough-winged Swallow traverses a color-field backdrop on a shallow pond at Brazoria National Wildlife Refuge.
Recently spurred on by the TMI Group's challenge "In The Style of Klee, Rothko, Warhol" and playing with the 'panorama' function on my iPhone, I thought it might be interesting to pursue this shot of an old, painted, wooden fence as though it was a "colour field" piece.
The work of three artists comes to mind as inspirations: Barnett Newman and his "zips", Mark Rothko and his diaphanous fields of colour and Jules Olitski with his articulated edges and airy gradations of colour. Newman and Olitski in particular, at the height of their careers created some stunning large horizontal paintings, the most memorable of which and the inspiration for this piece, is Newman's "Vir Heroicus Sublimis".
A small series looking at creating colour field abstracts out of "straight shots".
View Large on Black.
Grey, Orange on Maroon, No. 8 by Mark Rothko, 1960.
Museum Boijmans Rotterdam.
In January 2019, Museum Boijmans Van Beuningen Rotterdam starts a major renovation which will last for many years. The main building with their collection is closed now.
More of the Boijmans collection at:
Elmer Bischoff (1916-1991) was an American figurative painter of the 20th century. Bischoff was educated at The University of California. He was an intelligence officer in WW2 who was stationed in Oxfordshire, England. Upon his return to the U.S. he met contemporary artists Mark Rothko and Clyfford Still, and became an art teacher at the California School of Art in San Francisco. He painted with Richard Diebenkorn and David Park, in what became known as the San Francisco Bay Area artists.
Beginning in the early 1950's Bischoff became one of the founding fathers of the Bay Area Figurative Movement along with his friend David Park and Diebenkorn. Together these men abandoned the format of abstract painting and contrary to everything popular happening around them returned to painting representationally. The legacy of the Bay Area school has gone onto influence artists up to the present and is the most influential California based movement in modern art.
This original Bischoff painting was seen and photographed on display at The De Young Fine Arts Museum in San Francisco's Golden Gate Park.
Rothko inspired photograph of a mountain range in Serbia. This view is from the back side of Kopaonik. Lovely sunset and vibrant colours.
the title is a play on words. these are seats (slightly posterized) at the berkeley repertory theater. i was there to see my son in the understudy performance of "RED."
berkeley repertory theater
berkeley, california
But nobody is visually naive any longer. We are cluttered with images, and only abstract art can bring us to the threshold of the divine.
―Dominique De Menil, The Rothko Chapel: Writings on Art and the Threshold of the Divine
Mark Rothko · No. 14 · 1960
Oil on canvas
SFMOMA
This was taken from the deck of "Rays on the Bay" Restaurant at the Sheraton Kona Resort on the "Big Island" of Hawaii. I watched this sunset evolve over the period of an hour and a half. I was fortunate enough to even photograph the 'green flash' effect as the last arc of the sun dipped into the Pacific (Photo to be posted later). I call the series "Rothko Sunsets" because the layering of colors in the sky and sea remind me of the paintings of Mark Rothko.
© Lawrence Goldman 2013, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
a shot taken in the Mark Rothko room at the Tate Modern yesterday. The fully featured painting is 'Black on Maroon'.
thanks in advance for all your comments and faves - they are all greatly appreciated.
I trust that everyone is having a great Wednesday!
Part of my other people's art (Set)
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