Mark Rothko


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Rothko, Mark

(rŏth`kō), 1903–70, American painter, b. Dvinsk, Russia (now Daugavpils, Latvia), as Marcus Rotkovitch. His family immigrated to the United States in 1913. He was a student of Max WeberWeber, Max
, 1881–1961, American painter, b. Russia. At 10 he accompanied his family to Brooklyn, N.Y. He studied art at Pratt Institute and in 1905 went abroad. In Paris he studied under J. P. Laurens, later visiting Spain and Italy and returning to New York in 1909.
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, then came under the influence of the surrealists. In the mid-1940s Rothko experimented with abstraction, arranging intense colors in irregular shapes. Soon he became a leading exponent of a uniquely meditative and personal strain within the larger movement of abstract expressionismabstract expressionism,
movement of abstract painting that emerged in New York City during the mid-1940s and attained singular prominence in American art in the following decade; also called action painting and the New York school.
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. His later works (e.g., No. 10, 1950; Mus. of Modern Art, New York City) frequently consist of floating rectangles of luminous color on enormous canvases that manage to convey simultaneously a deep sensuality and a profound spirituality. Rothko's images to some degree presaged some of the techniques of the later color-field paintingcolor-field painting,
abstract art movement that originated in the 1960s. Coming after the abstract expressionism of the 1950s, color-field painting represents a sharp change from the earlier movement.
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. He collaborated with the architect Philip JohnsonJohnson, Philip Cortelyou,
1906–2005, American architect, museum curator, and historian, b. Cleveland, grad. Harvard Univ. (B.A., 1927). One of the first Americans to study modern European architecture, Johnson wrote (with H.-R.
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 on the design of a chapel in Houston in the mid-1960s. Rothko committed suicide.

Bibliography

See his The Artist's Reality: Philosophies of Art (1940, pub. 2004; ed. by his son, C. Rothko), and his Writings on Art (1934–69, pub. 2006; ed. by M. Lopez-Remiro); D. Anfam, Mark Rothko: The Works on Canvas: Catalogue Raisonné (1998); biographies by J. E. B. Breslin (1993) and A. Cohen-Solal (2015); P. Selz, Mark Rothko (1972); L. Seldes, The Legacy of Mark Rothko (1978, repr. 1996); D. Ashton, About Rothko (1983, repr. 1996); A. C. Chave, Mark Rothko: Subjects in Abstraction (1989); M. Glimcher, ed., The Art of Mark Rothko (1991); D. Waldman, Mark Rothko in New York (1994); S. Nadelman, The Rothko Chapel Paintings (1996); L. Seldes, The Legacy of Mark Rothko (1996), J. S. Weiss et al., Mark Rothko (1998); K. Ottmann, The Essential Mark Rothko (2003); C. Rothko, his son, Mark Rothko: From the Inside Out (2015).

Rothko, Mark (b. Marcus Rothkovitch)

(1903–70) painter; born in Daugavpils (Dinsk), Latvia. His immigrant parents settled in Portland, Ore. (1913). After two years at Yale he settled in New York City, and except for a brief time studying with Max Weber (1925), he became a self-taught painter. During the 1930s he moved through various styles—starting with traditional representational subjects, then mythological themes—and from 1935–37 he was employed by the Federal Arts Project. In the early 1940s he took an interest in surrealism, but by 1947 his works became increasingly more abstract and by 1950 he found his true style in so-called color-field paintings, works with large rectangles of color that express moods, as in Four Darks in Red (1958). In 1961 he had a one-man retrospective at the Museum of Modern Art, an honor reserved for the giants of art. In 1970 he had two more major exhibits—at the Museum of Modern Art and the Metropolitan Museum of Art—but he committed suicide that year, shortly after he had completed what some regard as his masterwork, a group of murals for an interdenominational chapel in Houston, Texas.
References in periodicals archive ?
Over de gehele oppervlakte een veld': Alfred Schaffer en Mark Rothko.
Following on from the success of the study day last year devoted to Mark Rothko, ACE in conjuction with King's College London is organising a seminar on Miro with leading theologians and art critics to explore the meaning of his work.
A 1955 Mark Rothko that had been estimated to sell for $20-30 million eventually went for $22.
A Mark Rothko painting absent from the market for four decades could lead the sale, with an estimate of $20-30 million.
Curated by Lawrence Fong, JSMA curator of American and regional art, and anchored by Ellsworth Kelly's monumental lithograph "Purple/Red/Gray/Orange," the exhibition features work by Suzanne Caporael, Joe Fedderson, Bean Finneran, Linda Hutchins, Donald Judd, Shido Kuo, Sol LeWitt, Chris McCaw, Megan Murphy, Frank Okada, Gay Outlaw, Florence Pierce, Martin Puryear, Mark Rothko, LeRoy Setziol and Joe Thurston.
Real deal JASPER Johns's Flag paintings are credited as the first icons of Pop Art, ending the supremacy of the Abstract Expressionism of Jackson Pollock, Mark Rothko and Willem de Kooning, and opening the gates to the everyday consumer images of Andy Warhol.
Like a Mark Rothko painting (an influence Dahlsen acknowledges), the color combinations are at once so subtle yet so strong thatthey can spur powerful emotions.
Mark Rothko is a founder of Abstract Expressionism and a leading figure in 20th century American art, known for his huge paintings depicting floating rectangles of glowing colors.
But we fancied some culture and did a double-header at the Tate, visiting both Tate Britain - for the superb Francis Bacon exhibition, just finished - and Tate Modern, for its soul-enhancing Mark Rothko show, which ends on February 1.
The work features the likenesses of Aaron Douglas, Mark Rothko, Alfred Stieglitz, John Sloan, Alex Raymond, Roy Lichtenstein, Lee Krasner, Winslow Homer, Frederick Church, and Tamara de Lempicka.
Merritt acknowledges the importance of her training and studies with instructors at Brooklyn College in New York, including Ad Reinhardt, Mark Rothko and Jimmy Ernst, and she says her style continues to emerge, with continual experimentation in mixed media techniques.
The final installment looks at what my untrained eye suggests is a fairly overrated artist: Mark Rothko, whose massive colorfields do little for me.