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Unformatted text preview: MARK ROTHKO (1903-1970)- Russian Jew form Baltic states, went to Portland and eventually got into Yale but only stayed for a year he was a rebel at heart- Drifted down to New York and took up art with no training or background- inspired by Matisse (ex. Piano lesson 1916, Red Studio 1911), depicting artistic endeavors within his work- as time progressed, he began to develop a sense of transparency of color fields that was not there before; translucent planes overlap others lying beneath- later, the fields become fewer in number and expand towards the edges of the canvas, and begin to mimic the shape of the canvas itself **- he begins stacking fine veils of color that create depth that is detectable along the edges of the color fields- the fact that such practical and obvious means can create such a vision/mirage is the key to the fascination surrounding Rothko- after Peggy Guggenheim moved back to Europe in the 40s, she practically handed over her power to Betty Parsons, who showed a lot of Rothko in her gallery- before moving to his prime color fields, he regresses a bit, forcing the fields into the background by imposing a line on the foreground of the work- Where Pollock hated his work being called chaotic, Rothko hated that his paintings were described as serene; he said ppl who describe them as serene dont understand that they contain the most unrelieved violence that I can create they are a fragile containment of struggle and conflict o His paintings were an instrument to contain, control, resolve- he said best distance to view his work was 6 inches away, b/c there u are enveloped by color and can really see the tension and depth of the layers of color- Slow Swirl at the Edge of the Sea 1944- incorporated miros style into his own (The Hunter (Catalan Landscape) 23- 24), yet on a much larger scale o due to its size, the figures take on a human proportion despite nearly no representational resemblance of the human form o similar dancing, rhythmic figures, yet more rectilinear; less free movement- takes visual quotations from Duchamps work as well- references Medeival art as well, esp. mozarabic art (ex. The Morgan Beatus Spanish manuscript illumination, c. 10 th century) o another Rothko inspired by medieval art: Primeval Landscape 1944 o abstracts from the mauscript style, simultaneously utilizing the vocabulary of Miro No. 8 (multiform) 1949- forms are no longer bound by line; much freer, starting down the path towards his color fields- line no longer defines color, line becomes a function of color (and vice versa)- He talked about the forms as the performers or actors of the work No. 10 1950- No 10 (1950) was the first Rothko to be purchased by the MoMA WILLEM DE KOONING (1904-1997)- from Holland, came to NY as a penniless adult- his style came to be imitated, and eventually his popularity became his demise Pink Angels c. 1945- No longer reassembled around a core; same anatomical elements present, yet...
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This note was uploaded on 02/28/2008 for the course AHIS 370 taught by Professor Crow during the Spring '06 term at USC.
- Spring '06