Mark Rothko - Knowledge (XXG)

1860:. In 1975, the defendants were found liable for negligence and conflict of interest, were removed as executors of the Rothko estate by court order, and, along with Marlborough Gallery, were required to pay $ 9.2 million in damages to the estate. This amount represents only a small fraction of the eventual value of numerous Rothko works. Marlborough Gallery was also required to return the remaining 658 unsold paintings to two parties. One half of the remaining paintings were given to Rothko's estate, which was now controlled by Kate in addition to, eventually, her brother Christopher, who was 6 years old at the time of Rothko's death. The other half were given to the Mark Rothko Foundation, which the court had reestablished as part of the lawsuit proceedings, appointing investment banker and art collector 779:. Nietzsche claimed that Greek tragedy served to redeem man from the terrors of mortal life. The exploration of novel topics in modern art ceased to be Rothko's goal. From this time on, his art had the goal of relieving modern man's spiritual emptiness. He believed that this emptiness resulted partly from lack of mythology, which, according to Nietzsche, "The images of the myth have to be the unnoticed omnipresent demonic guardians, under whose care the young soul grows to maturity and whose signs help the man to interpret his life and struggles." Rothko believed his art could free unconscious energies, previously bound by mythological images, symbols, and rituals. He considered himself a "mythmaker", and proclaimed that "the exhilarated tragic experience is for me the only source of art". 1541:

England, "Since we had discussed our respective murals I thought you might be interested to know that mine are still with me. When I returned, I looked again at my paintings and then visited the premises for which they were destined, it seemed clear to me at once that the two were not for each other." A temperamental personality, Rothko never fully explained his conflicted emotions over the incident. One reading is offered by his biographer, James E.B. Breslin: the Seagram project could be seen as an acting-out of a familiar, in this case self-created "drama of trust and betrayal, of advancing into the world, then withdrawing, angrily, from it ... He was an Isaac who at the last moment refused to yield to Abraham." The final series of

1500: 1083:(both 1948), are less transitional than fully realized. Rothko himself described these paintings as possessing a more organic structure, and as self-contained units of human expression. For him, these blurred blocks of various colors, devoid of landscape or the human figure, let alone myth and symbol, possessed their own life force. They contained a "breath of life" he found lacking in the most figurative painting of the era. They were filled with possibility, whereas his experimentation with mythological symbolism had become a tired formula. The "multiforms" brought Rothko to a realization of his signature style of rectangular regions of color, which he continued to produce for the rest of his life. 40: 1508: 5594: 1804:'s description of Rothko at this time. But Rothko did take the medical advice not to paint pictures taller than three feet, and turned his attention to smaller, less physically strenuous formats, including acrylics on paper. Meanwhile, his marriage became increasingly troubled, and his poor health and impotence resulting from the aneurysm compounded his feeling of estrangement in the relationship. Rothko and Mell, who had been married from 1944 to 1970, separated on New Year's Day 1969; he moved into his studio. 1390:, points to the artist's acquaintance with poet Stanley Kunitz as a significant bond in this period ("conversations between painter and poet fed into Rothko's enterprise"). Kunitz saw Rothko as "a primitive, a shaman who finds the magic formula and leads people to it". Great poetry and painting, Kunitz believed, both had "roots in magic, incantation, and spell-casting" and were, at their core, ethical and spiritual. Kunitz instinctively understood the purpose of Rothko's quest. 652:

Bonaparte in France, which resulted in some positive critical attention. One reviewer remarked that Rothko's paintings "display authentic coloristic values." Later, in 1938, a show was held at the Mercury Gallery in New York, intended as a protest against the Whitney Museum of American Art, which the group regarded as having a provincial, regionalist agenda. Also during this period, Rothko, like Avery, Gorky, Pollock, de Kooning, and many others, found employment with the

745:. In particular, they took interest in psychoanalytical theories concerning dreams, and archetypes of a collective unconscious. They understood mythological symbols as images, operating in a space of human consciousness, which transcends specific history and culture. Rothko later said that his artistic approach was "reformed" by his study of the "dramatic themes of myth". He allegedly stopped painting altogether in 1940, to immerse himself in reading 1681: 1838: 998:, in late 1945, resulted in few sales, with prices ranging from $ 150 to $ 750. The exhibit also attracted less-than-favorable reviews from critics. During this period, Rothko had been stimulated by Still's abstract landscapes of color, and his style shifted away from surrealism. Rothko's experiments in interpreting the unconscious symbolism of everyday forms had run their course. His future lay with abstraction: 1720: 1015:, which Rothko saw at an "Italian Masters" loan exhibition, at the Museum of Modern Art, in 1940. The painting presents, in subtle grays and browns, two human-like forms embraced in a swirling, floating atmosphere of shapes and colors. The rigid rectangular background foreshadows Rothko's later experiments in pure color. The painting was completed, not coincidentally, in the year the Second World War ended. 1767:

additional individual painting faces the central triptych, from the opposite wall. The effect is to surround the viewer with massive, imposing visions of darkness. Despite its basis in religious symbolism and imagery, the paintings may be considered distinct from traditional Christian motifs and may act on the viewers subliminally. Rothko's erasure of symbols both removes and creates barriers to the work.

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abstraction, as well as beyond classical art. For Rothko, the paintings were objects that possessed their own form and potential and must be encountered as such. Sensing the futility of words in describing this decidedly nonverbal aspect of his work, Rothko abandoned all attempts at responding to those who inquired after its meaning and purpose, saying finally that silence is "so accurate":

1494:, that his true intention for the Seagram murals was to paint "something that will ruin the appetite of every son-of-a-bitch who ever eats in that room". He hoped, he told Fischer, that his painting would make the restaurant's patrons "feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall". 431:, at age 17. He learned his fourth language, English, and became an active member of the Jewish community center, where he proved adept at political discussions. Like his father, Rothko was passionate about issues such as workers' rights and contraception. At the time, Portland was a center of revolutionary activity in the U.S. and the region where the revolutionary syndicalist union 665:

to Rothko, the work of modernists, influenced by primitive art, could be compared to that of children in that "child art transforms itself into primitivism, which is only the child producing a mimicry of himself." In this manuscript, he observed: "Tradition of starting with drawing in academic notion. We may start with color." Rothko was using fields of color in his

524:, Weber was seen as "a living repository of modern art history". Under Weber's tutelage, Rothko began to view art as a vehicle for emotional and religious expression. Rothko's paintings from this era reveal the influence of his instructor. Years later, when Weber attended a show of his former student's work and expressed his admiration, Rothko was immensely pleased. 5676:, Los Angeles. Accession No. 2003.M.23. The archive assembled by Breslin, a professor at the University of California, Berkeley, as he researched and wrote Mark Rothko: a biography. Materials include interview recordings and transcripts, correspondence, financial and legal documents, photographs, clippings, assorted printed materials, and extensive notes. 420:, left the family without economic support. Sonia operated a cash register, while Markus worked in one of his uncle's warehouses, selling newspapers to employees. His father's death also led Rothko to sever his ties with religion. After he had mourned his father's death for almost a year at a local synagogue, he vowed never to set foot in one again. 1525:, to see first-hand the library's vestibule, from which he drew further inspiration for the murals. He remarked that "the room had exactly the feeling that I wanted ... it gives the visitor the feeling of being caught in a room with the doors and windows walled-in shut." He was further influenced by the somber colors of the murals in the Pompeiian 967: 3382:, making it the first work by Rothko to enter a museum collection. This seems fitting since baptism is a rite of initiation in the Christian faith. As a purification ritual performed by full or partial immersion in water, its treatment in watercolor also feels apt. Note the blue fountain at the top of Rothko's composition. 1037:(1946), which she purchased immediately following its completion. Like other works of this period, it depicted biomorphic shapes and abstract imagery in subtle tones. Guggenheim later showed this work in her European galleries, making it among the first of Rothko's paintings to be exhibited outside the United States. 3710:(New York: Knopf, 1997) writes admiringly of Rothko's emotional range, "from foreboding and sadness to an exquisite and joyful luminosity", but takes issue with the artist's religious aspirations: "Rothko's work could not, in the end, support the weight of meaning he wanted it to have" (pp. 490–491). Others, like 1247:

layers of the painting dry quickly, without mixing of colors, so that he could soon create new layers on top of the earlier ones. His brushstrokes were fast and light, a method he would continue to use until his death. His increasing adeptness at this method is apparent in the paintings completed for the chapel.

1061: 1670:, were placed in dark storage and displayed only periodically. The murals were on display from November 16, 2014, to July 26, 2015, in the newly renovated Harvard Art Museums, for which the fading of the pigments has been compensated by using an innovative color projection system to illuminate the paintings. 1019: 1533:, who was just starting a large mural project, and they discussed the respective issues of public and private sponsorship. After the visit the Rothkos continued to St. Ives in the West of England and met up with Patrick Heron and other Cornish painters before returning to London and then the United States. 3297:

Peggy Guggenheim, an influential art dealer and collector, acquired this work shortly after Rothko completed it. Guggenheim had organized an exhibition of the artist's paintings on paper and canvas at her Art of This Century gallery in New York City in early 1945. Sacrifice was later shown in several

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Near the end of his life, Rothko painted a series known as the "Black on Grays", uniformly featuring a black rectangle above a gray rectangle. These canvases and Rothko's later work in general have been associated with his depression and suicide, although the association has been criticized. Rothko's

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Despite his fame, Rothko felt a growing personal seclusion and a sense of being misunderstood as an artist. He feared that people purchased his paintings simply out of fashion and that collectors, critics, and audiences were not grasping his work's true purpose. He wanted his paintings to move beyond

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Rothko and his wife visited Europe for five months in early 1950. The last time he had been in Europe was during his childhood in Latvia, at that time part of Russia. Yet he did not return to his homeland, preferring to visit the important painting collections in the major museums of England, France,

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A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore a risky and unfeeling act to send it out into the world. How often it must be permanently impaired by the eyes of the vulgar and the cruelty of the impotent who

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After being reestablished by the court during the lawsuit proceedings following Rothko's death, the Mark Rothko Foundation donated the entirety of its holdings of Rothko's art to 35 museums and art institutions in the United States and Europe. Separately from the foundation, Kate and Christopher, as

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Moon landings were contemporaneous with their execution), he rejected the interpretations as "naive", arguing instead that the paintings were a continuation of his lifelong artistic themes and not symptoms of depression. Susan Grange observed that, after his aneurysm, Rothko executed several smaller

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only in expressing basic human emotions—tragedy, ecstasy, doom, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions ... The people who weep before my pictures are having the same religious experience

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I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them, however ... is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an

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critic's self-professed "befuddlement" over the new work, they stated "We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal

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Fearing that modern American painting had reached a conceptual dead end, Rothko was intent on exploring subjects other than urban and nature scenes. He sought subjects that would complement his growing interest in form, space, and color. The world crisis of war gave this search a sense of immediacy.

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Rothko's work has been described in eras. His early period (1924–1939) saw representational art inflected by impressionism, usually depicting urban scenes. In 1936, Rothko began writing a book, never completed, about similarities between the art of children and the work of modern painters. According

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Shortly before his death, Rothko and his financial advisor, Bernard Reis, created a foundation intended to fund "research and education" that received the bulk of Rothko's work after his death. Reis later sold the paintings to the Marlborough Gallery, at substantially reduced values, and then split

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Rothko's painting technique necessitated physical strength and stamina that the ailing artist could no longer muster. He hired two assistants to apply the multiple layers of paint. On half of the works, Rothko applied none of the paint himself and was content to supervise the slow, arduous process.

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Back in New York, Rothko and his wife Mell visited the nearly completed Four Seasons restaurant. Upset with the restaurant's dining atmosphere, which he considered pretentious and inappropriate for the display of his works, Rothko refused to continue the project and returned his cash advance to the

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For the next seven years, Rothko painted in oil only for large canvases with vertical formats. Very large-scale designs were used in order to overwhelm the viewer, or, in Rothko's words, to make the viewer feel "enveloped within" the painting. For some critics, the large size was an attempt to make

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Rothko described his new method as "unknown adventures in an unknown space", free from "direct association with any particular, and the passion of organism". Breslin described this change of attitude as "both self and painting are now fields of possibilities – an effect conveyed ... by the creation

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I insist upon the equal existence of the world engendered in the mind and the world engendered by God outside of it. If I have faltered in the use of familiar objects, it is because I refuse to mutilate their appearance for the sake of an action which they are too old to serve, or for which perhaps

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This period extended into his middle, "transitional" years (1940–1950), continuing incorporation of mythical and "biomorphic" abstraction, and "multiforms", the latter being canvases with large regions of color. Rothko's transitional decade was influenced by World War II, which prompted him to seek

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and city scenes. His style was already evolving in the direction of his renowned later works. In the 1930s, Rothko and Gottlieb together worked through intellectual perceptions and opinions they had about contemporary art. By the 1940s, both artists were delving into mythology for themes and forms,

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With an absence of figurative representation, what drama there is to be found in a late Rothko is in the contrast of colors, radiating against one another. His paintings can then be likened to a sort of fugue-like arrangement, with each variation counterpoised against one another, yet all existing

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The paintings were unveiled at the chapel's opening in 1971. Rothko never saw the completed chapel and never installed the paintings. On February 28, 1971, at the dedication, Dominique de Menil said, "We are cluttered with images and only abstract art can bring us to the threshold of the divine",

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In 1964, Rothko moved into his last New York studio at 157 East 69th Street. To simulate the lighting he wanted for the chapel, he equipped the studio with pulleys carrying large walls of canvas material to regulate light from a central cupola. Rothko reportedly intended the chapel to be his most

1612:'s inaugural ball. Later that year, a retrospective of his work was held at the Museum of Modern Art, to considerable commercial and critical success. In spite of this newfound fame, the art world had already turned its attention from the now passé abstract expressionists to the "next big thing", 1540:

Rothko kept the commissioned paintings in storage until 1968. Given that Rothko had known in advance about the luxury decor of the restaurant, and the social class of its future patrons, the motives for his abrupt repudiation remain mysterious, although he did write to his friend William Scott in

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To achieve this effect, Rothko applied a thin layer of a binder mixed with pigment directly onto uncoated and untreated canvas and painted significantly thinned oils directly onto this layer, creating a dense mixture of overlapping colors and shapes. One of his objectives was to make the various

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Returning to New York, Rothko had his first East Coast one-person show at the Contemporary Arts Gallery. He showed fifteen oil paintings, mostly portraits, along with some aquarelles and drawings. Among these works, the oil paintings especially captured the art critics' eyes. Rothko's use of rich

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Many of his early signature paintings are composed of bright, vibrant colors, particularly reds and yellows, expressing energy and ecstasy. By the mid-1950s, however, Rothko began to employ dark blues and greens, which many critics suggested was representative of growing darkness within Rothko's

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commission presented a new challenge, since it was the first time he was required not only to design a coordinated series of paintings but to produce an artwork space concept for a large, specific interior. Over the following three months, Rothko completed forty paintings, comprising three full

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Rothko was earning a growing reputation among his peers, particularly among the group that formed the Artists' Union. The Artists' Union, including Gottlieb and Solman, hoped to create a municipal art gallery, to show self-organized group exhibitions. In 1936, the group exhibited at the Galerie

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for works of art by a modern or contemporary artist. Three years prior to his death, a work by Rothko sold on the secondary market for $ 22,000; in 2003 a painting by Rothko sold for $ 7,175,000. Rothko's paintings sold at successively higher prices at auction through the mid-2010s, reaching $

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Rothko's move to New York landed him in a fertile artistic atmosphere. Modernist painters regularly exhibited in New York galleries, and the city's museums were an invaluable resource for a budding artist's knowledge and skills. Among the important early influences on him were the works of the

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magazine named a Rothko painting in 1955 as a good investment, Newman and Clyfford Still branded him a sell-out with bourgeois aspirations. Still wrote to Rothko to ask that the paintings he had given him over the years be returned. Rothko was deeply depressed by his former friends' jealousy.

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The chapel paintings consist of a monochrome triptych in soft brown, on the central wall, comprising three 5-by-15-foot panels and a pair of triptychs on the left and right made of opaque black rectangles. Between the triptychs are four individual paintings, measuring 11-by-15 feet each. One

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Rothko even went so far as to recommend that viewers position themselves as little as eighteen inches away from the canvas so that they might experience a sense of intimacy, as well as awe, a transcendence of the individual, and a sense of the unknown. As Rothko achieved success, he became

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discussed their art as aiming toward a spiritual experience, or at least an experience that exceeded the boundaries of the purely aesthetic. In later years, Rothko emphasized more emphatically the spiritual aspect of his artwork, a sentiment that would culminate in the construction of the

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In 1928, with a group of other young artists, Rothko exhibited works at the Opportunity Gallery. His paintings, including dark, moody, expressionist interiors and urban scenes, were generally well accepted among critics and peers. To supplement his income, in 1929 Rothko began instructing

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For Rothko, color was "merely an instrument", and the signature paintings were just a simpler, purer form of expressing the same basic human emotions as his surrealistic mythological paintings. Rothko's comment on viewers breaking down in tears before his paintings may have convinced the

1654:. He made 22 sketches, from which ten wall-sized paintings on canvas were painted, six were brought to Cambridge, Massachusetts, and only five were hung: a triptych on one wall and opposite two individual panels. His aim was to create an environment for a public place. Harvard President 1828:

works on paper using lighter hues, which are less well-known. Throughout his life Rothko consistently intended his works to evoke serious dramatic content, regardless of the colors used in a particular painting. When a woman visited his studio asking to buy a "happy" painting featuring

603:. For this exhibition, Rothko took the very unusual step of displaying works done by his pre-adolescent students from the Center Academy, alongside his own. His family was unable to understand Rothko's decision to be an artist, especially considering the dire economic situation of the 699:

Rothko separated temporarily from his wife Edith in mid-1937. They reconciled several months later, but their relationship remained tense and they would divorce in 1944. On February 21, 1938, Rothko finally became a citizen of the United States, prompted by fears that the growing

1090:'s abstract fields of color, which were influenced in part by the landscapes of Still's native North Dakota. In 1947, during a summer semester teaching at the California School of Fine Art, Rothko and Still flirted with the idea of founding their own curriculum. In 1948, Rothko, 1003:

they had never been intended. I quarrel with surrealists and abstract art only as one quarrels with his father and mother; recognizing the inevitability and function of my roots, but insistent upon my dissent; I, being both they and an integral completely independent of them.

580:, it was Avery who "gave Rothko the idea that was a possibility."Avery's abstract nature paintings, utilizing a rich knowledge of form and color, had a tremendous influence on him. Soon, Rothko's paintings took on the subject matter and color similar to Avery's, as seen in 1819:

suicide has been studied in medical literature, where his later paintings have been interpreted as "pictorial suicide notes" due to their somber palettes and especially in contrast to the brighter colors Rothko employed more frequently during the 1950s. Although art critic

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Rothko happened upon the use of symmetrical rectangular blocks of two to three opposing or contrasting, yet complementary, colors, in which, for example, "the rectangles sometimes seem barely to coalesce out of the ground, concentrations of its substance. The green bar in

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to construct the Rothko Chapel. As he grew older, hingeing around the late 1950s, the spiritual expression he meant to portray on canvas grew increasingly dark, and his bright reds, yellows, and oranges were subtly transformed into dark blues, greens, grays, and blacks.

1011:(1945) illustrates his newfound propensity towards abstraction. It has been interpreted as a meditation on Rothko's courtship of his second wife, Mary Alice "Mell" Beistle, whom he met in 1944 and married in early 1945. Other readings have noted echoes of Botticelli's 1177:

The discovery of his definitive form came at a period of great distress to the artist, as his mother Kate had died in October 1948. As the "multiforms" developed into what was to become his signature style, by early 1949 Rothko exhibited these new works at the

1529:. Following the trip to Italy, the Rothkos voyaged to Paris, Brussels, Antwerp and Amsterdam, before going to London, where Rothko spent time in the British Museum studying the Turner watercolors. They then traveled to Somerset and stayed with the artist 1666:. During installation, Rothko found the paintings to be compromised by the room's lighting. Despite the installation of fiberglass shades, the paintings were all removed by 1979 and, due to the fugitive nature of some of the red pigments, in particular 595:. In the daytime, they painted, then discussed art in the evenings. During a 1932 visit to Lake George, Rothko met Edith Sachar, a jewelry designer, whom he married later that year. The following summer, his first one-person show was held at the 1744:. During the first three years of the project (1964–67), Rothko believed it would remain so. The building's design and the paintings' religious implications were inspired by Roman Catholic art and architecture. Its octagonal shape is based on a 858:) myths. Soon after World War II, Rothko believed his titles limited the larger, transcendent aims of his paintings. To allow maximum interpretation by the viewer, he stopped naming and framing his paintings, referring to them only by numbers. 4678:, 18 Novembra, 2, (on the bank of the river Daugava). This monument, designed by Romualds Gibovskis to commemorate the centenary of the Dvinsk-born leading abstract expressionist artist Mark Rothko (1903–1970), was unveiled in September 2003. 1313:. It also created a dispute between Rothko and Barnett Newman, after Newman accused Rothko of having attempted to exclude him from the show. Growing success as a group was leading to infighting and claims of supremacy and leadership. When 1782: 1739:

For Rothko, the chapel was a place of pilgrimage far from the center of art (in this case, New York) where seekers of his newly "religious" artwork could journey. The chapel is now nondenominational, but it was originally intended to be

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On June 13, 1943, Rothko and Sachar separated again. Rothko suffered depression following their divorce. Thinking that a change of scenery might help, Rothko returned to Portland. From there, he traveled to Berkeley, where he met artist

607:. Having suffered serious financial setbacks, the Rothkowitzes were mystified by Rothko's seeming indifference to financial necessity. They felt he was doing his mother a disservice by not finding a more lucrative and realistic career. 721:

Were Prompted," published in 1948, Rothko argued that the "archaic artist ... found it necessary to create a group of intermediaries, monsters, hybrids, gods and demigods," in much the same way that modern man found intermediaries in

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Although the group separated later in the same year, the school was the center of a flurry of activity in contemporary art. In addition to his teaching experience, Rothko began to contribute articles to two new art publications,

990:, and the two began a close friendship. Still's deeply abstract paintings would be of considerable influence on Rothko's later works. In the autumn of 1943, Rothko returned to New York. He met with noted collector and art dealer 3630: 368:

in the Russian Empire. His father, Jacob (Yakov) Rothkowitz, was a pharmacist and intellectual who initially provided his children with a secular and political, rather than religious, upbringing. According to Rothko, his

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truth." On a more strident note, they criticized those who wanted to live surrounded by less challenging art, noting that their work necessarily "must insult anyone who is spiritually attuned to interior decoration".

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During the 1950 Europe trip, Rothko's wife, Mell, became pregnant. On December 30, when they were back in New York, she gave birth to a daughter, Kathy Lynn, called "Kate" in honor of Rothko's mother, Kate Goldin.

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to express tragedy. Toward the end of the decade, Rothko painted canvases with regions of pure color which he further abstracted into rectangular color forms, the idiom he would use for the rest of his life.

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Stenger, J., Khandekar, N., Raskar, R., Cuellar, S., Mohan, A. and Gschwind, R., ‘Conservation of a room: a treatment proposal for Mark Rothko’s Harvard Murals,’ Studies in Conservation, 61(6), 2016, 348-361

305:, but Rothko eventually grew disgusted with the idea that his paintings would be decorative objects for wealthy diners and refunded the lucrative commission, donating the paintings to museums including the 1876:

the executors of Rothko's estate following the lawsuit, have donated several of their holdings of Rothko's art to museums, and, as of 2021, continued to sell paintings from the estate's collection through

1294:, most impressed him. Fra Angelico's spirituality and concentration on light appealed to Rothko's sensibilities, as did the economic adversities the artist faced, which Rothko saw as similar to his own. 6354: 4244: 4884: 4350: 1360:

My paintings' surfaces are expansive and push outward in all directions, or their surfaces contract and rush inward in all directions. Between these two poles, you can find everything I want to say.

5837: 5744:, show his birth and circumcision in 1903 on September 12 and 19 on the Russian calendar (equivalent to September 25 and October 1 in the west) in male record #392 (top-right corner of image #185) 4507: 1584:

explained that the ink from the vandal's marker pen had bled all the way through the canvas, causing "a deep wound, not a superficial graze", and that the vandal had caused "significant damage".

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in America and Europe, Rothko abbreviated his name from "Markus Rothkowitz" to "Mark Rothko". The name "Roth", a common abbreviation, was still identifiably Jewish, so he settled upon "Rothko."

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Seagram and Sons Company. Seagram had intended to honor Rothko's emergence to prominence through his selection, and his breach of contract and public expression of outrage was unexpected.

5920: 1763:. For some, viewing the chapel's these paintings is akin submitting to a spiritual experience. The paintings have been likened to self-awareness, hermeticism, and contemplativeness. 6374: 1040:

Despite the abandonment of his "Mythomorphic Abstractionism", Rothko would still be recognized by the public primarily for his surrealist works, for the remainder of the 1940s. The

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I measure these ingredients very carefully when I paint a picture. It is always the form that follows these elements and the picture results from the proportions of these elements.

1048:(1945), included in the shows at the Whitney, was acquired by the museum in 1946; this was the first work of Rothko's to enter a museum collection, marking a key career milestone. 1631:

Rothko called pop artists "charlatans and young opportunists", and wondered aloud during a 1962 exhibition of pop art, "Are the young artists plotting to kill us all?" On viewing

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For Hughes, the chapel in Texas offers the final proof that the artist has overreached himself: "the eye ... seeks its nuances. But the expected epiphany does not come" (p. 491).

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magazine plug and further purchases by clients, Rothko's financial situation began to improve. In addition to sales of paintings, he also had money from his teaching position at

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In Rothko's mature or "classic" period (1951–1970), he consistently painted rectangular regions of color, intended as "dramas" to elicit an emotional response from the viewer.

408:, Jacob Rothkowitz emigrated from Russian Empire to the United States. Markus remained in Russian Empire with his mother and elder sister Sonia. They arrived as immigrants, at 1867:

Rothko's estranged wife Mell, also a heavy drinker, died six months after him at the age of 48. The cause of death was listed as "hypertension due to cardiovascular disease".

516:. Rothko characterized Gorky's leadership of the class as "overcharged with supervision." That same autumn, he took courses at the Art Students League taught by Cubist artist 769:

Rothko's new vision attempted to address modern man's spiritual and creative mythological requirements. The most crucial philosophical influence on Rothko in this period was

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father was "violently anti-religious". In an environment where Jews were often blamed for many of the evils that befell Russia, Rothko's early childhood was plagued by fear.

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Stenger, J., Khandekar, N., Wilker, A., Kallsen, K., Kirby, D.P. and Eremin, K., ‘The making of Mark Rothko’s Harvard Murals,’ Studies in Conservation, 61(6), 2016, 331-347.

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tone. Finding Yale to be elitist, and racist, at the end of his sophomore year, Rothko dropped out, never returning until he was awarded an honorary degree 46 years later.

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On February 25, 1970, Oliver Steindecker, Rothko's assistant, found the artist lying dead on the kitchen floor in front of the sink, covered in blood. He had overdosed on

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In 1946, Rothko created what art critics have since termed his transitional "multiform" paintings, although Rothko never used the term himself. Several of them, including

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Prices for Rothko's work on the secondary market and at auction rose significantly toward the end of his career and after his death, and have consistently remained among

1800:. Ignoring doctor's orders, he continued to drink and smoke heavily, avoided exercise, and maintained an unhealthy diet. "Highly nervous, thin, restless", was his friend 322: 6012: 1576:, one of the paintings in the Seagram series, was defaced with writing in black ink, while on display at Tate Modern. Restoration of the painting took 18 months. The 254:

rectangular regions of color, which he produced from 1949 to 1970. Although Rothko did not personally subscribe to any one school, he is associated with the American

1708:, Texas. The building is small and windowless except for a skylight and features a geometric, postmodern structure. The chapel, the Menil Collection, and the nearby 6349: 6329: 6062: 1033:

Although initially hesitant to purchase his works, Guggenheim did acquire several works following Rothko's exhibition at the Art of This Century gallery, including

423:

Rothko started school in the United States in 1913, quickly accelerating from third to fifth grade. In June 1921, he completed the secondary level, with honors, at

340:

Although Rothko lived modestly for much of his life, the resale value of his paintings grew tremendously in the decades following his suicide in 1970. His painting

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series in dark red and brown. He altered his horizontal format to vertical, to complement the restaurant's vertical features: columns, walls, doors, and windows.

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European exhibitions of Guggenheim's collection during Rothko's lifetime, making it one of the first works by Rothko to be displayed outside the United States.

1728:

important artistic statement. He became extremely involved in the building's layout and insisted that it feature a central cupola like his studio's. Architect

717:

He insisted that the new subject matter have a social impact, yet be able to transcend the confines of current political symbols and values. In his essay "The

468:. At the end of his first year in 1922, the scholarship was not renewed, and he worked as a waiter and delivery boy to support his studies. Rothko was more an 4874: 6389: 2988:"Jackson Pollock: Interviews, Articles, and Reviews. Pepe Karmel, Editor. | The Museum of Modern Art, New York. Distributed by Harry N. Abrams, 1999. P. 202" 1975: 1301:

Gallery in 1950 and 1951 and at other galleries across the world, including in Japan, São Paulo, and Amsterdam. The 1952 "Fifteen Americans" show curated by

648:". According to a gallery show catalog, the mission of the group was "to protest against the reputed equivalence of American painting and literal painting." 549:

schoolchildren in drawing, painting, and clay sculpture at the Center Academy of the Brooklyn Jewish Center, where he remained active for over twenty years.

376:

Despite Jacob Rothkowitz's modest income, the family was highly educated ("We were a reading family", Rothko's sister recalled), and Rothko spoke Lithuanian

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depicts an abstracted baptism in watercolors against a dusky grayish brown background, with an identifiable baptismal fountain at the top of the painting.

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the profits from sales with Gallery representatives. In 1971, Rothko's daughter Kate, who was 19 at the time of his death, sued Reis, Morton Levine, and

1736:

and Eugene Aubry. The architects frequently flew to New York to consult. On one occasion they brought a miniature of the building for Rothko's approval.

5536: 5247: 4496: 3082: 5903: 5620: 4907: 1499: 5737: 1811:

and cut an artery in his right arm with a razor blade. There was no suicide note. He was 66. The Seagram Murals arrived in London for display at the

5227: 4805:

One of his daring ventures was to have Sache, an esteemed French fabric designer, adapt the very abstract paintings of Rothko to thin evening silks.

5051: 4556: 6399: 6299: 6294: 5209: 4351:"Press Releases | Late at Tate Liverpool (22 October 2009): Reflect on Mark Rothko's Seagram Murals in the twilight hours (Tate Liverpool)" 4128: 1207:

experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command!

6334: 424: 5169: 1405:

There must be a clear preoccupation with death—intimations of mortality ... Tragic art, romantic art, etc., deals with the knowledge of death.

1169:, acquired by the Museum of Modern Art that year. He later credited it as another key source of inspiration for his later abstract paintings. 5977: 5496: 5424: 5366: 5265: 4390: 3673: 3640: 3467: 2462: 5187: 6409: 6379: 6344: 6339: 2128: 1258:

analysis conducted by the MOLAB showed that he employed natural substances such as egg and glue, as well as artificial materials including

942:

Rothko viewed myth as a replenishing resource for an era of spiritual void. This belief had begun decades earlier, through his reading of

1732:, unable to compromise with Rothko's vision about the kind of light he wanted in the space, left the project in 1967 and was replaced by 6424: 5947:

Archives of American Art (Braddon & Schectman were owners of the Mercury Gallery which exhibited the works of the Ten in the 1930s).

1756:

He felt the completion of the paintings to be "torment", and the inevitable result was to create "something you don't want to look at".

1442:

In 1958, Rothko was awarded the first of two major mural commissions, which proved both rewarding and frustrating. The beverage company

866:

At the root of Rothko and Gottlieb's presentation of archaic forms and symbols, illuminating modern existence had been the influence of

438:

Having grown up around radical workers' meetings, Rothko attended meetings of the IWW, including such speakers as the radical socialist

3457: 2106: 782:

Many of his paintings in this period contrast barbaric scenes of violence with civilized passivity, using imagery drawn primarily from

6369: 6284: 4066: 1107: 4654: 1186:, the paintings were nothing short of a revelation. After painting his first "multiform", Rothko had secluded himself in his home in 6414: 5467: 5395: 5337: 5308: 2765: 2726: 2377: 2155: 509: 508:, he saw students sketching a model. According to Rothko, this was the beginning of his life as an artist. He later enrolled in the 39: 5813: 5805: 5025: 4818: 6359: 5716: 3319: 2034: 1701: 1414:

Irony, This is a modern ingredient—the self-effacement and examination by which a man for an instant can go on to something else.

5753: 5108: 3394: 6419: 6404: 6384: 6289: 4325: 1752:. The de Menils believed the universal "spiritual" aspect of Rothko's work would complement the elements of Roman Catholicism. 1650:

Rothko received a second mural commission project, this time for a room of paintings for the penthouse of Harvard University's

1597: 505: 432: 2045:

Works by Rothko have continued to regularly achieve prices at auction ranging as high as $ 80 million through the 2020s.

5660: 5885: 5653: 4465: 5894: 5693: 4546:"Running a Famous Artist's Estate Is a Maze of Infighting and Deal-Making. Here's How the Rothkos and Other Families Do It" 3141: 3083:"Myth-Making: Abstract Expressionist Painting From The United States | The Tate Gallery, March 10, 1992 – January 10, 1993" 2005:

showed fabrics inspired by Rothko in 1971. A number of musical compositions have been inspired by Rothko's work, including

6304: 6022: 1187: 653: 342: 1856:, the executors of his estate, over the sham sales. The lawsuit continued for more than 10 years and became known as the 1642:

for sales of his work outside the United States. In New York, he continued to sell the artwork directly from his studio.

1600:. Rothko's fame and wealth had substantially increased; his paintings began to sell to notable collectors, including the 5950: 2481: 1663: 757: 588: 2892: 1373:

I had when I painted them. And if you, as you say, are moved only by their color relationship, then you miss the point.

1134:. Using the forums as an opportunity to assess the current art scene, Rothko also discussed in detail his own work and 966: 5841: 2429:

Ashton, an art historian and close friend of Rothko's, goes further: "Weber presided over early development" (p. 19).

1463: 1138:. These articles reflect the elimination of figurative elements from his painting, and a specific interest in the new 995: 501: 4846: 3323: 1212:

increasingly protective of his works, turning down several potentially important sales and exhibition opportunities:

4690: 3733: 2918:"Abstract Expressionism | Essay | the Metropolitan Museum of Art | Heilbrunn Timeline of Art History" 587:

Rothko, Gottlieb, Newman, Solman, Graham, and their mentor, Avery, spent considerable time together, vacationing at

6279: 1760: 370: 5732: 6309: 6052: 5970: 5000: 2021: 1979: 592: 285:, Rothko's art entered a transitional phase during the 1940s, where he experimented with mythological themes and 6364: 6122: 5933: 5673: 2489: 2298: 1939: 1823:

acknowledged that the Black and Grays are interpreted as premonitions of suicide or as "moonscapes" (the first

1786: 1550: 1455: 1341: 1139: 737:

as a commentary on current history was not novel. Rothko, Gottlieb, and Newman read and discussed the works of

645: 269:, then under the rule of the Russian Empire, Rothko and his family emigrated to the United States, arriving at 4788: 2054:

Rothko, Mark. "The Individual and the Social" (pp. 563–565) in Harrison, Charles & Paul Wood (eds.),

1898:(2004), about his philosophies on art, edited by his son Christopher, was published by Yale University Press. 1273:

In 1968 Rothko, in declining health, began painting most of his large works in acrylic paint instead of oils.

457:, Rothko organized debates about it. Despite the repressive political atmosphere, he wished to become a labor 5531: 1408:

Sensuality. Our basis of being concrete about the world. It is a lustful relationship with things that exist.

5944: 5688: 5279: 5079: 3373: 3292: 1883:

Rothko's complete works on canvas, 836 paintings, have been catalogued by art historian David Anfam, in his

1554: 1068: 1026: 974: 298: 281:

in 1923 where his youthful period of artistic production dealt primarily with urban scenery. In response to

20: 5940: 5617: 5593: 2187: 6274: 6197: 6179: 6042: 5727: 3701: 2833: 1968: 1530: 1526: 1302: 1222: 1060: 255: 148: 5684: 4545: 3036: 1888: 1842: 1638:

On August 31, 1963, Mell gave birth to a second child, Christopher. That autumn, Rothko signed with the

1018: 994:, but she was initially reluctant to take on his artworks. Rothko's one-person show at Guggenheim's the 476:

One of his fellow students remembers that he hardly seemed to study, but that he was a voracious reader.

405: 2942: 1507: 4416: 3346: 1517:

While in Europe, the Rothkos traveled to Rome, Florence, Venice, and Pompeii. In Florence, he visited

325:

using a special lighting technique. Rothko contributed 14 canvases to a permanent installation at the

6269: 6264: 6259: 5963: 5634: 4497:"A Betrayal The Art World Can't Forget; The Battle for Rothko's Estate Altered Lives and Reputations" 3782: 1490: 879: 775: 684: 534: 5142: 3607: 2790: 1198:, on the other hand, appears to vibrate against the orange around it, creating an optical flicker." 6112: 5912: 5866: 5553: 5114: 2599: 1971:

opened in Daugavpils after the Rothko family had donated a small collection of his original works.

1907: 1639: 1593: 1558: 1291: 1263: 1251: 1103: 770: 596: 314: 5874: 4103: 2249: 1368:

and that such a description was as inaccurate as labeling him a great colorist. His interest was:

6219: 5442: 5056: 4912: 4741: 4502: 4470: 3484: 2002: 1983: 1949: 1713: 1601: 1522: 1379: 1315: 930: 517: 454: 365: 330: 194: 4954: 4716: 4603: 4022: 1250:

Rothko used several original techniques that he tried to keep secret even from his assistants.

412:, in late 1913. From there, they crossed the country, to join Jacob and the elder brothers, in 6092: 6072: 6032: 5527: 5502: 5492: 5473: 5463: 5430: 5420: 5401: 5391: 5372: 5362: 5343: 5333: 5314: 5304: 5232: 4702: 4662: 4428: 4062: 3669: 3636: 3463: 2771: 2761: 2732: 2722: 2458: 2452: 2373: 1963:, a monument to him, designed by sculptor Romualds Gibovskis, was unveiled on the bank of the 1861: 1190:

on Long Island. He invited only a select few, including Rosenberg, to view the new paintings.

1135: 1091: 621: 577: 520:, who had been a part of the French avant-garde movement. To his students eager to know about 293:

In his later career, Rothko executed several canvases for three different mural projects. The

5875:

Rothko Britain exhibition at Whitechapel Gallery, London, 9 September 2011 – 26 February 2012

5608: 5251: 4544: 4495: 4249: 3790: 3369: 3288: 2096: 1931: 1911: 1853: 1733: 1697: 1625: 1621: 1447: 1337: 1310: 1183: 1095: 991: 902: 813: 751: 604: 428: 413: 385: 381: 302: 274: 212: 186: 5825: 5772:

on the occasion of the exhibition, Mark Rothko: Paintings on Paper, held November 17, 2023.

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influence in Europe might provoke the sudden deportation of American Jews. Concerned about

6102: 6082: 5846: 5757: 5741: 5723: 5669: 5624: 5540: 4823: 4697: 4245:"Harvard's Rothko murals to be seen in new light with revolutionary new projection system" 3496: 2068: 2006: 1797: 1748:

church of St. Maria Assunta, and the format of the triptychs is based on paintings of the

1680: 1609: 1572: 1482: 1394: 1306: 1143: 910: 894: 836: 727: 633: 625: 617: 553: 542: 458: 130: 59: 55: 3431: 1305:

at the Museum of Modern Art formally heralded the abstract artists and included works by

5796: 5639: 3786: 3665: 977:

in 2023. This was Rothko's first painting to enter a museum collection, acquired by the

6142: 5586: 5213: 5195: 5173: 4979: 4578: 4150: 3523: 2011: 1919: 1837: 1824: 1741: 1729: 1667: 1651: 1605: 1474: 1459: 1437: 1365: 1099: 1087: 1041: 987: 978: 914: 637: 569: 565: 557: 481: 318: 294: 89: 917:, met and discussed the art and ideas of these European pioneers, as well as those of 6253: 6211: 6160: 5747: 5702:

Mark Rothko Centenary celebration in Latvia. Conference and exhibition photo gallery.

5645: 5029: 4042:

Malvern, Jack (October 26, 2013). "Letter Unravels Mystery of Tate's Rothko Murals".

3536: 2917: 2039: 1915: 1691: 1581: 1298: 1259: 1227: 1179: 1162: 1158: 918: 738: 641: 561: 513: 326: 278: 190: 5710: 4221: 1719: 792:

trilogy. A list of Rothko's paintings from this period illustrates his use of myth:

242:

until 1940; September 25, 1903 – February 25, 1970), was an American

5830: 4851: 4027: 2101: 1953: 1926:. This drama received excellent reviews and usually played to full houses. In 2010 1877: 1812: 1808: 1655: 1632: 1546: 1518: 1467: 1345: 1287: 1119: 934:, Rothko and Gottlieb issued a manifesto, written mainly by Rothko. Addressing the 875: 746: 705: 678:

in art. During this time Rothko was influenced by ancient Greek tragedians such as

629: 573: 446: 439: 417: 409: 306: 282: 270: 243: 5766:

in Houston, Texas, is dedicated to Rothko paintings and non-denominational worship

5642:

contains links to galleries and museums with Rothko pieces and articles on Rothko.

3107: 1832:, Rothko retorted, "Red, yellow, orange – aren't those the colors of an inferno?" 890: 616:

fields of colors moved beyond Avery's influence. In late 1935, Rothko joined with

4628: 1759:

The chapel represents six years of Rothko's life and his growing concern for the

1481:

The following June, Rothko and his family again traveled to Europe. While on the

1086:

In the middle of this crucial period of transition, Rothko had been impressed by

6227: 6204: 5788: 4929:"Art/Auctions: Contemporary Art evening auction at Christie's November 11, 2003" 3711: 2346:

Stigler, Stephen M., "Aaron Director Remembered". 48 J. Law and Econ. 307, 2005.

1857: 1820: 1801: 1749: 1617: 1451: 1387: 1349: 1255: 955: 951: 947: 898: 247: 172:

Kate Rothko Prizel (b. Kathy Lynn Rothko, 1950) and Christopher Rothko (b. 1963)

152: 3658: 3521:

Robert Motherwell published Paalen's collected essays on art from his magazine

1462:. Rothko agreed to provide paintings for the building's new luxury restaurant, 6235: 5775: 5769: 5558: 5376: 2775: 2736: 2016: 1960: 1944: 1935: 1902: 1829: 1781: 1709: 1563: 1110:. Well-attended lectures there were open to the public, with speakers such as 906: 867: 469: 450: 355: 286: 262: 94: 5797:

Mark Rothko exhibition at Tate Modern, London, September 2008 – February 2009

5506: 5434: 5318: 4928: 1221:

To some critics and viewers, Rothko's aims exceeded his methods. Many of the

1044:

included them in their annual exhibit of contemporary art from 1943 to 1950.

396:, although his elder siblings had been educated in the public school system. 5477: 5405: 3531:, in which Rothko's statement was published, was the second of this series. 2576:

exh. cat. Washington 2023–2004 (Yale University Press, 2023), page 13, no 9.

2559:

exh. cat. Washington 2023–2004 (Yale University Press, 2023), page 12, no 6.

1745: 1115: 943: 886: 807: 783: 742: 734: 718: 679: 666: 600: 538: 521: 489: 443: 251: 5951:

Oral history interview with Sonia Allen, 1984 September 15; Rothko's sister

5696:

Mark Rothko radio podcast on ConcertZender Radio, Utrecht, The Netherlands.

5347: 5026:"Post-War and Contemporary Art Evening Sale 8 May 2012 – Sale 2557, Lot 20" 1596:

in Washington, D.C., following the purchase of four paintings by collector

925: 321:

together with regular sunlight exposure. The Harvard series has since been

5414: 3311: 1397:. In a tenor unusual for him, he discussed art as a trade and offered the 449:, where he developed strong oratorical skills he later used in defense of 5457: 5385: 5084: 4984: 4432: 3766: 2568:

Catherine Jones, "Noted One-Man Show Artist One-Time Portland Resident."

1659: 1470:

put it, "bring his monumental dramas right into the belly of the beast".

1111: 794: 788: 388:

of his own youth, Rothko, the youngest of four siblings, was sent to the

317:); their colors faded badly over time due to Rothko's use of the pigment 5705: 5327: 4847:"Philharmonia/Rouvali/Levit review – secure and clear-sighted Beethoven" 1771:

noting Rothko's courage in painting "impenetrable fortresses" of color.

882:, "Cubism and Abstract Art", and "Fantastic Art, Dada, and Surrealism". 4879: 2555:, July–August 1933, Museum of Art, Portland. Cited in Adam Greenhalgh, 2038:

86.8 million in 2012, a record for Rothko and, at the time, a new

1991: 1964: 1705: 1613: 1443: 928:

department store in New York City. In response to a negative review by

826: 819: 800: 723: 675: 377: 334: 310: 5356: 4766: 1122:, but the school failed financially and closed in the spring of 1949. 905:, artists who had immigrated to the United States because of the war, 730:. For Rothko, "without monsters and gods, art cannot enact a drama". 5486: 5298: 4551: 1723:

Rothko's studio on 153 East 69th Street in New York's Upper East Side

1635:'s flags, Rothko said, "We worked for years to get rid of all that." 1283: 871: 850: 843: 393: 389: 360: 266: 85: 5630: 3811: 3795: 3770: 5943:

Conducted by Avis Berman, New York City, New York, 1981 October 9.

4222:"Harvard's Famously Damaged Rothko Paintings 'Restored' With Light" 3134:"Important Ideas that Changed Art Forever – Abstract Expressionism" 1942:. Molina played Rothko in both London and New York. A recording of 1401:

recipe of a work of art—its ingredients—how to make it—the formula

3535:

was re-published in 2013 by Deborah Rosenthal, with a foreword by

2834:"Mark Rothko and the dialogue in his mind - Hektoen International" 1780: 1718: 1679: 1506: 1498: 1267: 1059: 1017: 965: 5228:"Rothko painting fetches $ 82 million at Christie's auction" 1662:, had the paintings hung in January 1963, and later shown at the 1067:(1948), an example of the artist's "multiform" paintings, at the 5210:"Mellon's Rothko Painting Sells for $ 46.5 Million at Sotheby's" 1984:

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

1154:

of protean, indeterminate shapes whose multiplicity is let be."

701: 465: 5959: 5679: 3541:

Form and Sense, Meanings and Movements in Twentieth-Century Art

2893:"This day in Jewish history / Artist Mark Rothko is found dead" 670:

tapping into what could be considered universal consciousness.

572:, was part of a group of young artists surrounding the painter 5955: 5770:

Mark Rothko: Insights from Arne Glimcher and the Rothko Family

5763: 5670:

James E. B. Breslin research archive on Mark Rothko, 1900-1994

4632: 3734:"Mark Rothko : Into The Darkness | Blog | Rippingham Art" 1577: 1488:

he disclosed to journalist John Fischer, who was publisher of

1161:

Gallery (March 3 to 22). In 1949, Rothko became fascinated by

404:

Fearing that his elder sons were about to be drafted into the

4819:"Spano's Program an Enticing Taste of the Festival's Future?" 3395:"Mark Rothko, No 18, 1948, Oil on canvas, Private collection" 1658:, following an explanation of the religious symbology of the 5760:, documentary film by Isy Morgensztern. French/English NTSC. 5609:"Kate Rothko Talks About Her Father, The Artist Mark Rothko" 5567:

Mark Rothko: Works on Paper (catalogue raisonné in progress)

5462:. Translated by Kaufmann, Walter. New York: Modern Library. 384:), Hebrew and Russian. Following his father's return to the 224: 5248:"Basquiat sets artist record at Christie's sale at $ 57.3M" 4538: 4536: 4534: 4415:

Ravin, James G.; Hartman, John J.; Fried, Ralph I. (1978).

1202:

up for a lack of substance. In retaliation, Rothko stated:

309:. The Harvard Mural series was donated to a dining room in 230: 5566: 5170:"Paul Allen's Rothko Sells for $ 56.2 Million at Phillips" 4489: 4487: 4485: 4483: 4481: 3378:

In early 1946 the Whitney Museum of American Art acquired

2042:

record for any postwar painting sold at a public auction.

1545:

was dispersed, and now hangs in three locations: London's

221: 4875:"The Most Expensive Works by Mark Rothko Sold at Auction" 3578: 3576: 3527:, as the first number of the series. The number entitled 5699: 2987: 2156:"These Are the 10 Most Expensive Paintings in the World" 2058:(563–565). Malden, MA: Blackwell Publishers, Ltd., 1999. 1557:

in Washington, D.C. This episode was the main basis for

5052:"Record Sales for a Rothko and Other Art at Christie's" 4955:"An Outsider in Latvia, America & Art: Mark Rothko" 4908:"Record Sales for A Rothko And Other Art at Christie's" 3608:"The Collection | Mark Rothko. No. 3/No. 13. 1949" 2482:"Oral history interview with Sally Avery, 1982 Feb. 19" 2056:

Art in Theory 1900–1990: An Anthology of Changing Ideas

6355:

Emigrants from the Russian Empire to the United States

4151:"Rothko damage 'could take up to 18 months to repair'" 3279: 3277: 3037:""Mark Rothko: Early Years" | National Gallery of Art" 5666:

including pictures of works and photographs of Rothko

227: 5776:

Exhibition Overview: Mark Rothko: Paintings on Paper

5188:"Sotheby's $ 343 Million Sale Led by Jasper Johns's 4061:. London: Thames & Hudson. pp. Vol 2 p.15. 3707:

American Visions: The Epic History of Art in America

3543:, New York (Arcade Publishing/Artists and Art), 2013 2396:(New York: Farrar Straus Giroux, 2003), pp. 129–130. 1986:

in Albany, New York includes both Rothko's painting

1885:

Mark Rothko: The Works on Canvas: Catalogue Raisonné

1423:

Hope. 10% to make the tragic concept more endurable.

218: 6189: 6171: 6152: 6134: 5993: 5941:

Interview with Bernard Braddon and Sidney Schectman

4129:"Tate Modern unveils painstakingly restored Rothko" 2129:"Reviving Mark Rothko's Harvard Murals Using Light" 1914:in London, on December 3, 2009. The play, starring 1420:

The ephemeral and chance ... for the human element.

215: 180: 168: 158: 144: 136: 126: 118: 102: 67: 30: 5107: 4391:"Risk Factors in Suicide: Mark Rothko and His Art" 3657: 1592:Rothko's first completed space was created in the 878:. In 1936, Rothko attended two exhibitions at the 6395:Suicides by sharp instrument in the United States 5728:Daugavpils Rabinats Fonds 4359 Apraksts 2 Lieta 8 5143:"A Rothko From 1954 Just Sold for an Ungodly Sum" 3368:(Museum label). Mark Rothko: Paintings on Paper. 3287:(Museum label). Mark Rothko: Paintings on Paper. 1432:Seagram Murals–Four Seasons restaurant commission 1352:. Their relationship proved mutually beneficial. 6013:White Center (Yellow, Pink and Lavender on Rose) 1796:In early 1968, Rothko was diagnosed with a mild 1393:In November 1958, Rothko gave an address to the 1106:founded the Subjects of the Artist School at 35 6063:No. 6 (Yellow, White, Blue over Yellow on Gray) 5266:"Rust, Blacks on Plum sale details, Christie's" 2531:On Avery's impact on Rothko: Ashton, pp. 21–25. 2090: 2088: 2086: 2084: 1894:A previously unpublished manuscript by Rothko, 1684:Rothko Chapel in Houston, Texas, North America. 1370: 1214: 1204: 1157:In 1947, he had a first solo exhibition at the 1000: 6003:No. 3/No. 13 (Magenta, Black, Green on Orange) 1712:gallery were funded by Texas oil millionaires 1340:. In 1954, he exhibited in a solo show at the 924:New paintings were unveiled at a 1942 show at 909:took New York by storm. Rothko and his peers, 6375:Lincoln High School (Portland, Oregon) alumni 5971: 3629:Chave, Anna; Rothko, Mark (January 1, 1989). 2756:. New Haven: Yale University Press. pp. 2717:. New Haven: Yale University Press. pp. 19:"Rothko" redirects here. For other uses, see 8: 5548:Mark Rothko: The Decisive Decade, 1940–1950. 5080:"Art records fall led by Rothko in New York" 3354:. Museum of Modern Art, New York. p. 7. 2943:"The Romantics Were Prompted," Mark Rothko, 1959:In Rothko's birthplace, the Latvian city of 500:In the autumn of 1923, Rothko found work in 4417:"Mark Rothko's Paintings... Suicide Notes?" 2750:Rothko, Mark; López-Remiro, Miguel (2006). 2711:Rothko, Mark; López-Remiro, Miguel (2006). 2572:(July 30, 1933). Cited by Adam Greenhalgh, 1974:A number of Rothko's works are held by the 885:In 1942, following the success of shows by 830:. Rothko evokes Judeo-Christian imagery in 5978: 5964: 5956: 5680:Mark Rothko Art Centre, Daugavpils, Latvia 5447:: CS1 maint: location missing publisher ( 5109:"Why Mark Rothko is still setting records" 4629:""Red" - About - Great Performances - PBS" 4494:Dobrzynski, Judith H. (November 2, 1998). 3567:Mark Rothko: The Works on Canvas, Volume 1 3456:Chilvers, Ian; Glaves-Smith, John (2009). 2553:Drawings and Water Colors by M. Rothkowitz 1411:Tension. Either conflict or curbed desire. 1364:Rothko began to insist that he was not an 38: 27: 6320:American people of Russian-Jewish descent 6315:American people of Latvian-Jewish descent 5358:Mark Rothko, 1903-1970: Pictures as Drama 3794: 1976:Museo Nacional Centro de Arte Reina Sofía 400:Migration from Russian Empire to the U.S. 5588:Mark Rothko, 1903–1970: A Retrospective. 5390:. Chicago: University of Chicago Press. 4466:"Mark Rothko's Dark Palette Illuminated" 1841:Rothko's grave at East Marion Cemetery, 1836: 1217:would extend the affliction universally! 416:. Jacob's death, a few months later, of 273:in late 1913 and originally settling in 5575:New Haven: Yale University Press, 2006. 4691:Latvia opens museum dedicated to Rothko 4464:Sheets, Hilarie M. (November 2, 2016). 4398:Journal of Psychiatry and Mental Health 4312: 4207: 4195: 4183: 4171: 4090: 3996: 3975: 3938: 3908: 3896: 3871: 3847: 3835: 3753: 3582: 3552: 3509: 3418: 3268: 3247: 3223: 3202: 3178: 3166: 3023: 2974: 2870: 2858: 2698: 2677: 2644: 2632: 2620: 2540: 2519: 2417: 2355: 2322: 2299:"Mark Rothko | The Oregon Encyclopedia" 2285: 2273: 2248:Molcard, Eva Sarah (October 12, 2018). 2235: 2211: 2097:"The art cheats who betrayed my father" 2080: 1511:Frescoes in the Villa of the Mysteries. 1417:Wit and play ... for the human element. 354:Rothko was born in 1903 in Dvinsk (now 6350:Drug-related suicides in New York City 6330:Art Students League of New York alumni 5440: 4873:Villa, Angelica (September 29, 2021). 4787:Morris, Bernadine (January 28, 1971). 4559:from the original on February 29, 2024 4510:from the original on February 28, 2024 4300: 4288: 4008: 3950: 3859: 3594: 3492: 3482: 3326:from the original on November 26, 2023 3235: 3190: 3154: 3060: 3011: 2656: 2585: 2476: 2474: 2438: 2405: 2334: 2223: 2109:from the original on November 14, 2023 1910:based on Rothko's life, opened at the 1604:. In January 1961, Rothko sat next to 488:, that lampooned the school's stuffy, 250:paintings that depicted irregular and 5456:Nietzsche, Friedrich Wilhelm (2000). 5332:. New York: Oxford University Press. 5122:from the original on January 12, 2022 4845:Clements, Andrew (November 6, 2022). 4543:Morgensztern, Maïa (August 3, 2021). 3885:Mark Rothko: Subjects in Abstraction, 1696:The Rothko Chapel is adjacent to the 164:Mary Alice "Mell" Beistle (1944–1970) 7: 5834:, guardian.co.uk, September 28, 2008 5524:New York: Thames & Hudson, 1990. 4689:Sophia Kishkovsky (April 25, 2013), 3632:Mark Rothko: Subjects in Abstraction 3432:"Subject of the Artist | art school" 2181: 2179: 2177: 2095:Cooke, Rachel (September 14, 2008). 1503:Vestibule of the Laurentian Library. 1277:European travels and increasing fame 1243:within one architectonic structure. 599:, consisting mostly of drawings and 6390:San Francisco Art Institute faculty 5694:Mark Rothko Broadcast, Utrecht 2015 4980:"Huge bids smash modern art record" 4953:Radic, Randall (January 31, 2008). 4767:"Empire State Plaza Art Collection" 4021:Jonathan Jones (December 6, 2002). 3966:(London: Tate Gallery, 2008), p. 91 3108:"Mark Rothko Paintings, Bio, Ideas" 2454:Historical Dictionary of Surrealism 2188:"A Newish Biography of Mark Rothko" 552:During the early 1930s, Rothko met 512:, where one of his instructors was 5700:Mark Rothko Centenary, Latvia 2003 5186:Tarmy, James (November 11, 2014). 5141:Dionne, Zach (November 13, 2012). 3132:Wallace, Nora (February 5, 2016). 2791:"Artists Who Inspired Mark Rothko" 2186:Glueck, Grace (October 11, 2016). 392:at age five, where he studied the 246:painter. He is best known for his 14: 6325:20th-century American printmakers 5717:Raduraksti (Latvia for "lineage") 5416:Mark Rothko: Break Into the Light 4887:from the original on June 6, 2023 4817:Steiman, Harvey (July 19, 2011). 4357:. October 9, 2009. Archived from 3692:(New York: Taschen, 2005), p. 42. 3664:. Yale University Press. p. 2370:Mark Rothko: Break into the Light 1009:Slow Swirl at the Edge of the Sea 510:Parsons The New School for Design 504:. While visiting a friend at the 464:Rothko received a scholarship to 5598:New York: Harry N. Abrams, 1978. 5592: 5300:Mark Rothko: The Works on Canvas 5208:Kazakina, Katya (May 14, 2015). 5168:Kazakina, Katya (May 15, 2014). 5106:Waters, Florence (May 9, 2012). 4326:"Mark Rothko | Encyclopedia.com" 4059:William Scott Catalogue Raisonné 3320:Solomon R. Guggenheim Foundation 2457:. Scarecrow Press. p. 426. 2394:Arshile Gorky: His Life and Work 1922:, centered on the period of the 1386:Rothko's friend, the art critic 1297:Rothko had one-man shows at the 484:, started a satirical magazine, 346:sold in 2014 for $ 186 million. 211: 5280:"The Macklowe Collection no. 7" 5078:Whitman, Hilary (May 9, 2012). 1952:with Molina playing Rothko and 1864:as the foundation's president. 1446:had recently completed the new 1332:Shortly thereafter, due to the 1196:Magenta, Black, Green on Orange 682:and his reading of Nietzsche's 506:Art Students League of New York 433:Industrial Workers of the World 6400:20th-century American painters 6300:American contemporary painters 6295:Abstract expressionist artists 5550:New York: Skira Rizzoli, 2012. 4999:Crow, Kelly (April 13, 2011). 4243:Edgers, Geoff (May 20, 2014). 2574:Mark Rothko Paintings on Paper 2557:Mark Rothko Paintings on Paper 1348:, who represented Pollock and 486:The Yale Saturday Evening Pest 1: 6335:Artists from Portland, Oregon 6023:No. 6 (Violet, Green and Red) 5384:Breslin, James E. B. (1993). 4789:"Givenchy: Elegance and More" 4220:Shea, Andrea (May 20, 2014). 3459:Subjects of the Artist School 1466:. This was, as art historian 862:"Mythomorphic" abstractionism 654:Works Progress Administration 343:No. 6 (Violet, Green and Red) 240:Markus Yakovlevich Rothkowitz 72:Markus Yakovlevich Rothkowitz 48: 45:Mark Rothko, Yorktown Heights 5838:You can have too much Rothko 5826:Welcome to his dark side ... 5749:Rothko, an abstract humanist 5355:Baal-Teshuva, Jacob (2003). 5050:Vogel, Carol (May 8, 2012). 4906:Vogel, Carol (May 8, 2012). 4104:"Tate Modern, Rothko Murals" 3962:Achim Borchardt-Hume (ed.). 3714:, would profoundly disagree. 2250:"Mark Rothko by the Numbers" 1990:(1967) and a large mural by 1923: 1702:the University of St. Thomas 1328:Reactions to his own success 847:. He also invokes Egyptian ( 758:The Interpretation of Dreams 364:(Jewish village) within the 16:Abstract painter (1903–1970) 6410:Federal Art Project artists 6380:Artists who died by suicide 6345:Burials in New York (state) 6340:Barbiturates-related deaths 5799:includes curator interview 5654:Simon Schama's Power of Art 5571:Rothko, Christopher (ed.). 5563:London: Oberon Books, 2009. 5546:Collins, Bradford R. (ed.) 5459:Basic Writings of Nietzsche 3771:"Rothko's methods revealed" 3462:. Oxford University Press. 2192:Los Angeles Review of Books 1815:on the day of his suicide. 1714:John and Dominique de Menil 1616:, particularly the work of 996:Art of This Century gallery 611:First solo show in New York 502:New York's garment district 297:were to have decorated the 6441: 6425:20th-century American Jews 5778:held on November 19, 2023. 5756:February 24, 2021, at the 5706:Mark Rothko on Wikiart.org 5580:The Legacy of Mark Rothko. 5226:Ng, David (May 14, 2015). 5001:"Out of Nowhere, a Rothko" 4528:(case cite 372 N.E.2d 291) 4421:Ohio State Medical Journal 3978:, p. 371–383,404–409. 2372:. Flame Tree. p. 17. 2303:www.oregonencyclopedia.org 1775:Suicide and estate lawsuit 1689: 1588:Rising American prominence 1435: 1344:, where he met art dealer 712:Inspiration from mythology 18: 6370:20th-century Latvian Jews 6285:American abstract artists 6053:No 1 (Royal Red and Blue) 5303:. Yale University Press. 4057:Whitfield, Sarah (2013). 3883:Anna Chave, Mark Rothko, 3635:. Yale University Press. 1980:Thyssen-Bornemisza Museum 1948:was produced in 2018 for 1454:, designed by architects 764: 593:Gloucester, Massachusetts 200: 176: 37: 6415:Brooklyn College faculty 6123:Untitled (Black on Grey) 5934:Archives of American Art 5674:Getty Research Institute 5387:Mark Rothko: A Biography 4746:Museo Thyssen-Bornemisza 3816:The Museum of Modern Art 2951:, No. 1, Winter 1947-48" 2490:Archives of American Art 1787:Untitled (Black on Grey) 1551:Kawamura Memorial Museum 1342:Art Institute of Chicago 537:, the surrealist art of 453:. With the onset of the 258:movement of modern art. 162:Edith Sachar (1932–1943) 6360:Jewish American artists 5945:Smithsonian Institution 5722:August 3, 2020, at the 5689:National Gallery of Art 5651:The documentary series 5582:New York: DaCapo, 1996. 5522:Abstract Expressionism. 5005:The Wall Street Journal 4696:April 28, 2013, at the 4676:Monument to Mark Rothko 4659:Museum "Jews in Latvia" 3656:Weiss, Jeffrey (1998). 3436:Encyclopædia Britannica 3374:National Gallery of Art 3293:National Gallery of Art 2955:www.theoria.art-zoo.com 2795:National Gallery of Art 2486:Oral history interviews 1956:playing his assistant. 1555:National Gallery of Art 1444:Joseph Seagram and Sons 1223:abstract expressionists 1069:National Gallery of Art 1027:National Gallery of Art 975:National Gallery of Art 958:, among other authors. 582:Bathers, or Beach Scene 541:, and the paintings of 472:than a diligent pupil: 313:'s Holyoke Center (now 299:Four Seasons Restaurant 21:Rothko (disambiguation) 6420:Yale University alumni 6405:American male painters 6385:People from Daugavpils 6290:Abstract expressionism 6198:Abstract expressionism 6180:Mark Rothko Art Centre 6043:No. 61 (Rust and Blue) 5740:July 22, 2019, at the 5623:July 22, 2019, at the 5539:July 22, 2019, at the 5485:Simon, Schama (2006). 5413:Grange, Susan (2016). 4604:"The Artist's Reality" 3810:Kedmey, Karen (2017). 3690:Abstract Expressionism 2689:Anfam, pp. 26, 46, 70. 2451:Aspley, Keith (2010). 2368:Grange, Susan (2016). 2288:, p. 21–22,24,32. 2162:. Hearst Digital Media 1982:, both in Madrid. The 1969:Mark Rothko Art Centre 1846: 1791: 1724: 1685: 1527:Villa of the Mysteries 1512: 1504: 1429: 1375: 1362: 1303:Dorothy Canning Miller 1219: 1209: 1072: 1030: 1005: 982: 527: 478: 256:abstract expressionism 149:Abstract expressionism 5733:registration required 5657:featured Mark Rothko. 5614:, September 14, 2008. 5573:The Artist's Reality. 5326:Ashton, Dore (1983). 5297:Anfam, David (1998). 4608:Yale University Press 4583:Yale University Press 4361:on September 15, 2016 3769:(November 27, 2008). 3144:on February 12, 2017. 1967:in 2003. In 2013 the 1889:Yale University Press 1887:(1998), published by 1840: 1784: 1722: 1683: 1510: 1502: 1399: 1358: 1150:publication of 1945. 1063: 1021: 1007:Rothko's masterpiece 969: 962:Break with Surrealism 765:Nietzsche's influence 589:Lake George, New York 535:German Expressionists 480:Rothko and a friend, 474: 406:Imperial Russian Army 6305:Painters from Oregon 5635:Museum of Modern Art 5149:. New York Media LLC 4665:on February 16, 2015 4635:. September 19, 2019 4454:Grange, pp. 174-179. 4330:www.encyclopedia.com 4081:Schama, pp. 428–434. 3929:Baal-Teshuva, p. 57. 3920:Baal-Teshuva, p. 50. 3345:Selz, Peter (1961). 2882:Baal-Teshuva, p. 31. 1896:The Artist's Reality 1290:in the monastery of 1182:Gallery. For critic 880:Museum of Modern Art 776:The Birth of Tragedy 685:The Birth of Tragedy 674:novel expression of 660:Development of style 6113:Orange, Red, Yellow 5867:Whitechapel Gallery 5115:The Daily Telegraph 4927:Horsley, Carter B. 4153:. November 21, 2012 4044:The Times of London 3787:2008Natur.456..447Q 3539:. Wolfgang Paalen, 3259:Baal-Teshun, p. 39. 3072:Nietzsche 1872, §23 2789:Milgrom, Michaela. 2135:. February 18, 2015 1934:, where it won six 1640:Marlborough Gallery 1594:Phillips Collection 1292:San Marco, Florence 1264:phenol formaldehyde 1252:Electron microscopy 1142:debate launched by 771:Friedrich Nietzsche 749:study of mythology 597:Portland Art Museum 425:Lincoln High School 315:Smith Campus Center 113:New York City, U.S. 5923:September 11, 2011 5888:September 11, 2011 5850:, October 3, 2008. 5528:Cohen-Solal, Annie 5419:. Fulham, London. 5057:The New York Times 4913:The New York Times 4793:The New York Times 4721:museoreinasofia.es 4655:"Historical Sites" 4503:The New York Times 4471:The New York Times 3953:, p. 150–151. 2814:Grange, pp. 50-54. 2133:Architect Magazine 2003:Hubert de Givenchy 1950:Great Performances 1847: 1792: 1725: 1686: 1602:Rockefeller family 1523:Laurentian Library 1513: 1505: 1073: 1031: 1013:The Birth of Venus 983: 931:The New York Times 747:Sir James Frazer's 556:, who, along with 455:Russian Revolution 435:(IWW) was active. 366:Pale of Settlement 331:non-denominational 195:Dominique de Menil 82:September 25, 1903 6280:Abstract painters 6247: 6246: 6093:Four Darks in Red 6073:Black in Deep Red 5906:September 9, 2011 5897:September 8, 2011 5828:, Laura Cumming, 5764:The Rothko Chapel 5498:978-0-06-117610-4 5491:. HarperCollins. 5426:978-1-78361-999-3 5368:978-3-8365-0426-3 5233:Los Angeles Times 4959:Literary Traveler 4933:thecityreview.com 4703:The Art Newspaper 4445:Anfam, pp. 97-99. 4210:, p. 445–42. 3941:, p. 333–42. 3911:, p. 297–42. 3756:, p. 316–42. 3675:978-0-300-08193-0 3642:978-0-300-04961-9 3597:, p. 61,112. 3469:978-0-19-923966-5 3421:, p. 223–42. 3271:, p. 212–42. 3181:, p. 191–42. 2947:, No. 1, p. 84 | 2701:, p. 130–42. 2647:, p. 101–42. 2602:. Portlandart.net 2464:978-0-8108-5847-3 2001:Fashion designer 1862:Donald M. Blinken 1570:In October 2012, 1491:Harper's Magazine 1473:For Rothko, this 1456:Mies van der Rohe 1136:philosophy of art 1092:Robert Motherwell 806:The Sacrifice of 578:Elaine de Kooning 204: 203: 106:February 25, 1970 6432: 6310:Jews from Oregon 6240: 6230: 6223: 6215: 6207: 6200: 6182: 6164: 6145: 6127: 6117: 6107: 6097: 6087: 6077: 6067: 6057: 6047: 6037: 6027: 6017: 6007: 5980: 5973: 5966: 5957: 5810:(includes video) 5736: 5597: 5596: 5585:Waldman, Diane. 5543:Actes-Sud, 2013. 5510: 5488:The Power of Art 5481: 5452: 5446: 5438: 5409: 5380: 5351: 5322: 5284: 5283: 5276: 5270: 5269: 5262: 5256: 5255: 5252:Associated Press 5244: 5238: 5237: 5223: 5217: 5216: 5205: 5199: 5198: 5183: 5177: 5176: 5165: 5159: 5158: 5156: 5154: 5138: 5132: 5131: 5129: 5127: 5111: 5103: 5097: 5096: 5094: 5092: 5075: 5069: 5068: 5066: 5064: 5047: 5041: 5040: 5038: 5036: 5022: 5016: 5015: 5013: 5011: 4996: 4990: 4989: 4976: 4970: 4969: 4967: 4965: 4950: 4944: 4943: 4941: 4939: 4924: 4918: 4917: 4903: 4897: 4896: 4894: 4892: 4870: 4864: 4863: 4861: 4859: 4842: 4836: 4835: 4833: 4831: 4814: 4808: 4807: 4802: 4800: 4784: 4778: 4777: 4775: 4773: 4763: 4757: 4756: 4754: 4752: 4738: 4732: 4731: 4729: 4727: 4713: 4707: 4687: 4681: 4680: 4672: 4670: 4661:. 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Archived from 3129: 3123: 3122: 3120: 3118: 3104: 3098: 3097: 3095: 3093: 3079: 3073: 3070: 3064: 3063:, p. 51–57. 3058: 3052: 3051: 3049: 3047: 3033: 3027: 3021: 3015: 3014:, p. 40–50. 3009: 3003: 3002: 3000: 2998: 2984: 2978: 2972: 2966: 2965: 2963: 2961: 2939: 2933: 2932: 2930: 2928: 2914: 2908: 2907: 2905: 2903: 2889: 2883: 2880: 2874: 2868: 2862: 2856: 2850: 2849: 2847: 2845: 2830: 2824: 2821: 2815: 2812: 2806: 2805: 2803: 2801: 2786: 2780: 2779: 2747: 2741: 2740: 2708: 2702: 2696: 2690: 2687: 2681: 2675: 2669: 2666: 2660: 2659:, p. 30–32. 2654: 2648: 2642: 2636: 2630: 2624: 2623:, p. 57,89. 2618: 2612: 2611: 2609: 2607: 2595: 2589: 2583: 2577: 2570:Sunday Oregonian 2566: 2560: 2550: 2544: 2538: 2532: 2529: 2523: 2517: 2511: 2508: 2502: 2501: 2499: 2497: 2478: 2469: 2468: 2448: 2442: 2436: 2430: 2427: 2421: 2420:, p. 62–63. 2415: 2409: 2403: 2397: 2392:Hayden Herrera, 2390: 2384: 2383: 2365: 2359: 2358:, p. 47–42. 2353: 2347: 2344: 2338: 2332: 2326: 2325:, p. 34–42. 2320: 2314: 2313: 2311: 2309: 2295: 2289: 2283: 2277: 2276:, p. 18–42. 2271: 2265: 2264: 2262: 2260: 2245: 2239: 2233: 2227: 2221: 2215: 2209: 2203: 2202: 2200: 2198: 2183: 2172: 2171: 2169: 2167: 2154:DiMarco, Sarah. 2151: 2145: 2144: 2142: 2140: 2125: 2119: 2118: 2116: 2114: 2092: 1912:Donmar Warehouse 1734:Howard Barnstone 1698:Menil Collection 1464:the Four Seasons 1448:Seagram Building 1338:Brooklyn College 1311:William Baziotes 1184:Harold Rosenberg 1096:William Baziotes 992:Peggy Guggenheim 752:The Golden Bough 733:Rothko's use of 429:Portland, Oregon 414:Portland, Oregon 386:Orthodox Judaism 303:Seagram Building 275:Portland, Oregon 237: 236: 233: 232: 229: 226: 223: 220: 217: 187:Peggy Guggenheim 183: 109: 81: 79: 53: 50: 42: 28: 6440: 6439: 6435: 6434: 6433: 6431: 6430: 6429: 6365:Jewish painters 6250: 6249: 6248: 6243: 6233: 6226: 6218: 6210: 6203: 6196: 6185: 6178: 6167: 6159: 6148: 6141: 6135:Painting series 6130: 6120: 6110: 6100: 6090: 6083:Black on Maroon 6080: 6070: 6060: 6050: 6040: 6030: 6020: 6010: 6000: 5989: 5984: 5918:The Independent 5847:The Independent 5802:Press reviews: 5785: 5758:Wayback Machine 5742:Wayback Machine 5730: 5724:Wayback Machine 5713:, The Art Story 5625:Wayback Machine 5605: 5591: 5541:Wayback Machine 5517: 5515:Further reading 5499: 5484: 5470: 5455: 5439: 5427: 5412: 5398: 5383: 5369: 5354: 5340: 5325: 5311: 5296: 5293: 5288: 5287: 5278: 5277: 5273: 5264: 5263: 5259: 5254:. May 10, 2016. 5246: 5245: 5241: 5225: 5224: 5220: 5207: 5206: 5202: 5185: 5184: 5180: 5167: 5166: 5162: 5152: 5150: 5140: 5139: 5135: 5125: 5123: 5105: 5104: 5100: 5090: 5088: 5077: 5076: 5072: 5062: 5060: 5049: 5048: 5044: 5034: 5032: 5024: 5023: 5019: 5009: 5007: 4998: 4997: 4993: 4988:. May 16, 2007. 4978: 4977: 4973: 4963: 4961: 4952: 4951: 4947: 4937: 4935: 4926: 4925: 4921: 4905: 4904: 4900: 4890: 4888: 4872: 4871: 4867: 4857: 4855: 4844: 4843: 4839: 4829: 4827: 4824:The Aspen Times 4816: 4815: 4811: 4798: 4796: 4786: 4785: 4781: 4771: 4769: 4765: 4764: 4760: 4750: 4748: 4740: 4739: 4735: 4725: 4723: 4715: 4714: 4710: 4698:Wayback Machine 4688: 4684: 4668: 4666: 4653: 4652: 4648: 4638: 4636: 4627: 4626: 4622: 4612: 4610: 4602: 4601: 4597: 4587: 4585: 4577: 4576: 4572: 4562: 4560: 4542: 4541: 4532: 4527: 4523: 4513: 4511: 4493: 4492: 4479: 4463: 4462: 4458: 4453: 4449: 4444: 4440: 4414: 4413: 4409: 4393: 4388: 4387: 4383: 4379:Grange, p. 175. 4378: 4374: 4364: 4362: 4349: 4348: 4344: 4334: 4332: 4324: 4323: 4319: 4311: 4307: 4299: 4295: 4287: 4283: 4278: 4274: 4269: 4265: 4255: 4253: 4242: 4241: 4237: 4227: 4225: 4219: 4218: 4214: 4206: 4202: 4194: 4190: 4182: 4178: 4170: 4166: 4156: 4154: 4149: 4148: 4144: 4134: 4132: 4127: 4126: 4122: 4112: 4110: 4102: 4101: 4097: 4089: 4085: 4080: 4076: 4069: 4056: 4055: 4051: 4041: 4040: 4036: 4020: 4019: 4015: 4007: 4003: 3995: 3991: 3987:Schama, p. 398. 3986: 3982: 3974: 3970: 3961: 3957: 3949: 3945: 3937: 3933: 3928: 3924: 3919: 3915: 3907: 3903: 3895: 3891: 3882: 3878: 3870: 3866: 3858: 3854: 3846: 3842: 3834: 3830: 3820: 3818: 3809: 3808: 3804: 3796:10.1038/456447a 3765: 3764: 3760: 3752: 3748: 3738: 3736: 3732: 3731: 3727: 3722: 3718: 3700: 3696: 3687: 3683: 3676: 3655: 3654: 3650: 3643: 3628: 3627: 3623: 3613: 3611: 3606: 3605: 3601: 3593: 3589: 3581: 3574: 3564: 3563: 3559: 3551: 3547: 3520: 3516: 3508: 3504: 3491: 3481: 3474: 3472: 3470: 3455: 3454: 3450: 3440: 3438: 3430: 3429: 3425: 3417: 3413: 3403: 3401: 3393: 3392: 3388: 3380:Baptismal Scene 3366:Baptismal Scene 3364: 3363: 3359: 3351: 3344: 3343: 3339: 3329: 3327: 3309: 3308: 3304: 3283: 3282: 3275: 3267: 3263: 3258: 3254: 3246: 3242: 3234: 3230: 3222: 3218: 3213: 3209: 3201: 3197: 3189: 3185: 3177: 3173: 3165: 3161: 3153: 3149: 3131: 3130: 3126: 3116: 3114: 3106: 3105: 3101: 3091: 3089: 3081: 3080: 3076: 3071: 3067: 3059: 3055: 3045: 3043: 3035: 3034: 3030: 3022: 3018: 3010: 3006: 2996: 2994: 2986: 2985: 2981: 2973: 2969: 2959: 2957: 2941: 2940: 2936: 2926: 2924: 2916: 2915: 2911: 2901: 2899: 2891: 2890: 2886: 2881: 2877: 2869: 2865: 2857: 2853: 2843: 2841: 2832: 2831: 2827: 2822: 2818: 2813: 2809: 2799: 2797: 2788: 2787: 2783: 2768: 2753:Writings on art 2749: 2748: 2744: 2729: 2714:Writings on art 2710: 2709: 2705: 2697: 2693: 2688: 2684: 2676: 2672: 2667: 2663: 2655: 2651: 2643: 2639: 2631: 2627: 2619: 2615: 2605: 2603: 2597: 2596: 2592: 2584: 2580: 2567: 2563: 2551: 2547: 2539: 2535: 2530: 2526: 2518: 2514: 2510:Grange, pg. 20. 2509: 2505: 2495: 2493: 2480: 2479: 2472: 2465: 2450: 2449: 2445: 2437: 2433: 2428: 2424: 2416: 2412: 2404: 2400: 2391: 2387: 2380: 2367: 2366: 2362: 2354: 2350: 2345: 2341: 2333: 2329: 2321: 2317: 2307: 2305: 2297: 2296: 2292: 2284: 2280: 2272: 2268: 2258: 2256: 2247: 2246: 2242: 2234: 2230: 2222: 2218: 2210: 2206: 2196: 2194: 2185: 2184: 2175: 2165: 2163: 2153: 2152: 2148: 2138: 2136: 2127: 2126: 2122: 2112: 2110: 2094: 2093: 2082: 2077: 2069:Rothko Pavilion 2065: 2051: 2031: 2007:Adam Schoenberg 1996:Rothko's Canvas 1873: 1854:Theodore Stamos 1849: 1848: 1798:aortic aneurysm 1794: 1793: 1777: 1694: 1688: 1687: 1676: 1648: 1610:John F. Kennedy 1598:Duncan Phillips 1590: 1580:'s Arts Editor 1573:Black on Maroon 1515: 1514: 1440: 1434: 1395:Pratt Institute 1330: 1307:Jackson Pollock 1282:and Italy. The 1279: 1240: 1234:personal life. 1175: 1144:Wolfgang Paalen 1108:East 8th Street 1058: 1050:Baptismal Scene 1046:Baptismal Scene 971:Baptismal Scene 964: 895:Wolfgang Paalen 864: 856:The Syrian Bull 837:The Last Supper 767: 728:Communist Party 714: 697: 662: 634:Ralph Rosenborg 626:Adolph Gottlieb 618:Ilya Bolotowsky 613: 576:. According to 554:Adolph Gottlieb 543:Georges Rouault 530: 528:Rothko's circle 498: 459:union organizer 402: 352: 214: 210: 181: 163: 131:Yale University 127:Alma mater 114: 111: 107: 98: 92: 83: 77: 75: 74: 73: 63: 60:Consuelo Kanaga 56:Brooklyn Museum 51: 33: 24: 17: 12: 11: 5: 6438: 6436: 6428: 6427: 6422: 6417: 6412: 6407: 6402: 6397: 6392: 6387: 6382: 6377: 6372: 6367: 6362: 6357: 6352: 6347: 6342: 6337: 6332: 6327: 6322: 6317: 6312: 6307: 6302: 6297: 6292: 6287: 6282: 6277: 6272: 6267: 6262: 6252: 6251: 6245: 6244: 6242: 6241: 6231: 6224: 6216: 6208: 6201: 6193: 6191: 6187: 6186: 6184: 6183: 6175: 6173: 6169: 6168: 6166: 6165: 6156: 6154: 6150: 6149: 6147: 6146: 6143:Seagram murals 6138: 6136: 6132: 6131: 6129: 6128: 6118: 6108: 6098: 6088: 6078: 6068: 6058: 6048: 6038: 6028: 6018: 6008: 5997: 5995: 5991: 5990: 5985: 5983: 5982: 5975: 5968: 5960: 5954: 5953: 5948: 5929: 5928: 5927: 5926: 5925: 5924: 5915: 5907: 5898: 5889: 5863: 5862: 5861: 5860: 5859: 5858: 5851: 5835: 5823: 5811: 5784: 5781: 5780: 5779: 5773: 5767: 5761: 5745: 5714: 5708: 5703: 5697: 5691: 5682: 5677: 5667: 5658: 5643: 5637: 5628: 5627:, Pace Gallery 5618:1958–59 Murals 5615: 5604: 5603:External links 5601: 5600: 5599: 5583: 5576: 5569: 5564: 5551: 5544: 5525: 5520:Anfam, David. 5516: 5513: 5512: 5511: 5497: 5482: 5468: 5453: 5425: 5410: 5396: 5381: 5367: 5352: 5338: 5323: 5309: 5292: 5289: 5286: 5285: 5271: 5257: 5239: 5218: 5214:Bloomberg L.P. 5200: 5196:Bloomberg L.P. 5178: 5174:Bloomberg L.P. 5160: 5133: 5098: 5070: 5042: 5017: 4991: 4971: 4945: 4919: 4898: 4865: 4837: 4809: 4779: 4758: 4742:"Rothko, Mark" 4733: 4717:"Rothko, Mark" 4708: 4682: 4646: 4620: 4595: 4570: 4530: 4521: 4477: 4456: 4447: 4438: 4407: 4389:Hartman, J.J. 4381: 4372: 4342: 4317: 4305: 4303:, p. 188. 4293: 4291:, p. 183. 4281: 4272: 4263: 4235: 4212: 4200: 4198:, p. 443. 4188: 4186:, p. 431. 4176: 4174:, p. 427. 4164: 4142: 4131:. May 13, 2014 4120: 4095: 4093:, p. 408. 4083: 4074: 4068:978-0500970416 4067: 4049: 4034: 4023:"Feeding fury" 4013: 4011:, p. 147. 4001: 3999:, p. 376. 3989: 3980: 3968: 3955: 3943: 3931: 3922: 3913: 3901: 3899:, p. 286. 3889: 3876: 3874:, p. 345. 3864: 3862:, p. 130. 3852: 3850:, p. 299. 3840: 3838:, p. 285. 3828: 3802: 3758: 3746: 3725: 3716: 3694: 3688:Barbara Hess, 3681: 3674: 3648: 3641: 3621: 3599: 3587: 3585:, p. 283. 3572: 3565:Anfam, David. 3557: 3555:, p. 378. 3545: 3533:Form and Sense 3514: 3512:, p. 223. 3502: 3468: 3448: 3423: 3411: 3386: 3357: 3337: 3302: 3273: 3261: 3252: 3250:, p. 208. 3240: 3228: 3226:, p. 205. 3216: 3207: 3205:, p. 170. 3195: 3183: 3171: 3169:, p. 181. 3159: 3147: 3124: 3099: 3074: 3065: 3053: 3028: 3026:, p. 160. 3016: 3004: 2979: 2977:, p. 240. 2967: 2934: 2909: 2884: 2875: 2873:, p. 204. 2863: 2861:, p. 144. 2851: 2840:. October 2021 2825: 2823:Grange, p. 47. 2816: 2807: 2781: 2766: 2742: 2727: 2703: 2691: 2682: 2680:, p. 121. 2670: 2661: 2649: 2637: 2625: 2613: 2590: 2578: 2561: 2545: 2533: 2524: 2512: 2503: 2470: 2463: 2443: 2431: 2422: 2410: 2398: 2385: 2378: 2360: 2348: 2339: 2327: 2315: 2290: 2278: 2266: 2240: 2228: 2216: 2204: 2173: 2146: 2120: 2079: 2078: 2076: 2073: 2072: 2071: 2064: 2061: 2060: 2059: 2050: 2047: 2030: 2027: 2012:Finding Rothko 1924:Seagram Murals 1920:Eddie Redmayne 1872: 1869: 1835: 1834: 1779: 1778: 1776: 1773: 1742:Roman Catholic 1730:Philip Johnson 1690:Main article: 1678: 1677: 1675: 1672: 1652:Holyoke Center 1647: 1646:Harvard Murals 1644: 1606:Joseph Kennedy 1589: 1586: 1543:Seagram Murals 1497: 1496: 1475:Seagram murals 1460:Philip Johnson 1450:skyscraper on 1438:Seagram murals 1436:Main article: 1433: 1430: 1425: 1424: 1421: 1418: 1415: 1412: 1409: 1406: 1366:abstractionist 1329: 1326: 1278: 1275: 1270:, and others. 1260:acrylic resins 1239: 1236: 1174: 1171: 1148:Form and Sense 1100:Barnett Newman 1088:Clyfford Still 1057: 1054: 1042:Whitney Museum 1025:(1946) at the 988:Clyfford Still 979:Whitney Museum 973:(1945) at the 963: 960: 863: 860: 854:) and Syrian ( 766: 763: 755:, and Freud's 713: 710: 696: 693: 661: 658: 638:Louis Schanker 612: 609: 584:of 1933–1934. 566:Louis Schanker 558:Barnett Newman 529: 526: 497: 494: 482:Aaron Director 401: 398: 351: 348: 295:Seagram murals 277:. He moved to 202: 201: 198: 197: 184: 178: 177: 174: 173: 170: 166: 165: 160: 156: 155: 146: 142: 141: 138: 137:Known for 134: 133: 128: 124: 123: 120: 116: 115: 112: 110:(aged 66) 104: 100: 99: 90:Russian Empire 84: 71: 69: 65: 64: 43: 35: 34: 31: 15: 13: 10: 9: 6: 4: 3: 2: 6437: 6426: 6423: 6421: 6418: 6416: 6413: 6411: 6408: 6406: 6403: 6401: 6398: 6396: 6393: 6391: 6388: 6386: 6383: 6381: 6378: 6376: 6373: 6371: 6368: 6366: 6363: 6361: 6358: 6356: 6353: 6351: 6348: 6346: 6343: 6341: 6338: 6336: 6333: 6331: 6328: 6326: 6323: 6321: 6318: 6316: 6313: 6311: 6308: 6306: 6303: 6301: 6298: 6296: 6293: 6291: 6288: 6286: 6283: 6281: 6278: 6276: 6275:1970 suicides 6273: 6271: 6268: 6266: 6263: 6261: 6258: 6257: 6255: 6238: 6237: 6232: 6229: 6225: 6221: 6217: 6213: 6212:Arshile Gorky 6209: 6206: 6202: 6199: 6195: 6194: 6192: 6188: 6181: 6177: 6176: 6174: 6170: 6162: 6161:Rothko Chapel 6158: 6157: 6155: 6151: 6144: 6140: 6139: 6137: 6133: 6125: 6124: 6119: 6115: 6114: 6109: 6105: 6104: 6099: 6095: 6094: 6089: 6085: 6084: 6079: 6075: 6074: 6069: 6065: 6064: 6059: 6055: 6054: 6049: 6045: 6044: 6039: 6035: 6034: 6029: 6025: 6024: 6019: 6015: 6014: 6009: 6005: 6004: 5999: 5998: 5996: 5992: 5988: 5981: 5976: 5974: 5969: 5967: 5962: 5961: 5958: 5952: 5949: 5946: 5942: 5939: 5938: 5937: 5936: 5935: 5922: 5919: 5916: 5914: 5911: 5908: 5905: 5902: 5901:The Telegraph 5899: 5896: 5893: 5890: 5887: 5884: 5881: 5880: 5878: 5877: 5876: 5873: 5872: 5871: 5870: 5868: 5857: 5856: 5855:The Telegraph 5852: 5849: 5848: 5843: 5842:Tom Sutcliffe 5839: 5836: 5833: 5832: 5827: 5824: 5821: 5817: 5816: 5812: 5809: 5808: 5804: 5803: 5801: 5800: 5798: 5795: 5794: 5793: 5792: 5790: 5782: 5777: 5774: 5771: 5768: 5765: 5762: 5759: 5755: 5752: 5750: 5746: 5743: 5739: 5734: 5729: 5725: 5721: 5718: 5715: 5712: 5709: 5707: 5704: 5701: 5698: 5695: 5692: 5690: 5686: 5683: 5681: 5678: 5675: 5671: 5668: 5665: 5663: 5659: 5656: 5655: 5650: 5649: 5644: 5641: 5640:ArtCyclopedia 5638: 5636: 5632: 5629: 5626: 5622: 5619: 5616: 5613: 5610: 5607: 5606: 5602: 5595: 5590: 5589: 5584: 5581: 5578:Seldes, Lee. 5577: 5574: 5570: 5568: 5565: 5562: 5560: 5555: 5552: 5549: 5545: 5542: 5538: 5535: 5534: 5529: 5526: 5523: 5519: 5518: 5514: 5508: 5504: 5500: 5494: 5490: 5489: 5483: 5479: 5475: 5471: 5469:0-679-78339-3 5465: 5461: 5460: 5454: 5450: 5444: 5436: 5432: 5428: 5422: 5418: 5417: 5411: 5407: 5403: 5399: 5397:0-226-07405-6 5393: 5389: 5388: 5382: 5378: 5374: 5370: 5364: 5360: 5359: 5353: 5349: 5345: 5341: 5339:0-19-503348-5 5335: 5331: 5330: 5324: 5320: 5316: 5312: 5310:0-300-07489-1 5306: 5302: 5301: 5295: 5294: 5290: 5281: 5275: 5272: 5267: 5261: 5258: 5253: 5249: 5243: 5240: 5235: 5234: 5229: 5222: 5219: 5215: 5211: 5204: 5201: 5197: 5193: 5191: 5182: 5179: 5175: 5171: 5164: 5161: 5148: 5144: 5137: 5134: 5121: 5117: 5116: 5110: 5102: 5099: 5087: 5086: 5081: 5074: 5071: 5059: 5058: 5053: 5046: 5043: 5031: 5027: 5021: 5018: 5006: 5002: 4995: 4992: 4987: 4986: 4981: 4975: 4972: 4960: 4956: 4949: 4946: 4934: 4930: 4923: 4920: 4915: 4914: 4909: 4902: 4899: 4886: 4882: 4881: 4876: 4869: 4866: 4854: 4853: 4848: 4841: 4838: 4826: 4825: 4820: 4813: 4810: 4806: 4794: 4790: 4783: 4780: 4768: 4762: 4759: 4747: 4743: 4737: 4734: 4722: 4718: 4712: 4709: 4705: 4704: 4699: 4695: 4692: 4686: 4683: 4679: 4677: 4664: 4660: 4656: 4650: 4647: 4634: 4630: 4624: 4621: 4609: 4605: 4599: 4596: 4584: 4580: 4579:"Mark Rothko" 4574: 4571: 4558: 4554: 4553: 4547: 4539: 4537: 4535: 4531: 4525: 4522: 4509: 4505: 4504: 4498: 4490: 4488: 4486: 4484: 4482: 4478: 4473: 4472: 4467: 4460: 4457: 4451: 4448: 4442: 4439: 4434: 4430: 4426: 4422: 4418: 4411: 4408: 4403: 4399: 4392: 4385: 4382: 4376: 4373: 4360: 4356: 4352: 4346: 4343: 4331: 4327: 4321: 4318: 4315:, p. 49. 4314: 4309: 4306: 4302: 4297: 4294: 4290: 4285: 4282: 4276: 4273: 4267: 4264: 4252: 4251: 4246: 4239: 4236: 4223: 4216: 4213: 4209: 4204: 4201: 4197: 4192: 4189: 4185: 4180: 4177: 4173: 4168: 4165: 4152: 4146: 4143: 4130: 4124: 4121: 4109: 4105: 4099: 4096: 4092: 4087: 4084: 4078: 4075: 4070: 4064: 4060: 4053: 4050: 4045: 4038: 4035: 4030: 4029: 4024: 4017: 4014: 4010: 4005: 4002: 3998: 3993: 3990: 3984: 3981: 3977: 3972: 3969: 3965: 3959: 3956: 3952: 3947: 3944: 3940: 3935: 3932: 3926: 3923: 3917: 3914: 3910: 3905: 3902: 3898: 3893: 3890: 3886: 3880: 3877: 3873: 3868: 3865: 3861: 3856: 3853: 3849: 3844: 3841: 3837: 3832: 3829: 3817: 3813: 3812:"Mark Rothko" 3806: 3803: 3797: 3792: 3788: 3784: 3781:(7221): 447. 3780: 3776: 3772: 3768: 3762: 3759: 3755: 3750: 3747: 3735: 3729: 3726: 3720: 3717: 3713: 3709: 3708: 3703: 3702:Robert Hughes 3698: 3695: 3691: 3685: 3682: 3677: 3671: 3667: 3662: 3661: 3652: 3649: 3644: 3638: 3634: 3633: 3625: 3622: 3609: 3603: 3600: 3596: 3591: 3588: 3584: 3579: 3577: 3573: 3568: 3561: 3558: 3554: 3549: 3546: 3542: 3538: 3537:Martica Sawin 3534: 3530: 3529:Possibilities 3526: 3525: 3518: 3515: 3511: 3506: 3503: 3498: 3486: 3471: 3465: 3461: 3460: 3452: 3449: 3437: 3433: 3427: 3424: 3420: 3415: 3412: 3400: 3396: 3390: 3387: 3383: 3381: 3375: 3371: 3367: 3361: 3358: 3350: 3349: 3341: 3338: 3325: 3321: 3317: 3313: 3310:Flint, Lucy. 3306: 3303: 3299: 3294: 3290: 3286: 3280: 3278: 3274: 3270: 3265: 3262: 3256: 3253: 3249: 3244: 3241: 3237: 3232: 3229: 3225: 3220: 3217: 3214:Grange, p. 66 3211: 3208: 3204: 3199: 3196: 3193:, p. 41. 3192: 3187: 3184: 3180: 3175: 3172: 3168: 3163: 3160: 3157:, p. 34. 3156: 3151: 3148: 3143: 3139: 3135: 3128: 3125: 3113: 3112:The Art Story 3109: 3103: 3100: 3088: 3084: 3078: 3075: 3069: 3066: 3062: 3057: 3054: 3042: 3038: 3032: 3029: 3025: 3020: 3017: 3013: 3008: 3005: 2993: 2989: 2983: 2980: 2976: 2971: 2968: 2956: 2952: 2950: 2949:Possibilities 2946: 2945:Possibilities 2938: 2935: 2923: 2922:metmuseum.org 2919: 2913: 2910: 2898: 2894: 2888: 2885: 2879: 2876: 2872: 2867: 2864: 2860: 2855: 2852: 2839: 2835: 2829: 2826: 2820: 2817: 2811: 2808: 2796: 2792: 2785: 2782: 2777: 2773: 2769: 2767:9780300114409 2763: 2759: 2755: 2754: 2746: 2743: 2738: 2734: 2730: 2728:9780300114409 2724: 2720: 2716: 2715: 2707: 2704: 2700: 2695: 2692: 2686: 2683: 2679: 2674: 2671: 2665: 2662: 2658: 2653: 2650: 2646: 2641: 2638: 2635:, p. 87. 2634: 2629: 2626: 2622: 2617: 2614: 2601: 2594: 2591: 2588:, p. 26. 2587: 2582: 2579: 2575: 2571: 2565: 2562: 2558: 2554: 2549: 2546: 2543:, p. 81. 2542: 2537: 2534: 2528: 2525: 2522:, p. 91. 2521: 2516: 2513: 2507: 2504: 2491: 2487: 2483: 2477: 2475: 2471: 2466: 2460: 2456: 2455: 2447: 2444: 2441:, p. 69. 2440: 2435: 2432: 2426: 2423: 2419: 2414: 2411: 2408:, p. 11. 2407: 2402: 2399: 2395: 2389: 2386: 2381: 2379:9781783619993 2375: 2371: 2364: 2361: 2357: 2352: 2349: 2343: 2340: 2337:, p. 10. 2336: 2331: 2328: 2324: 2319: 2316: 2304: 2300: 2294: 2291: 2287: 2282: 2279: 2275: 2270: 2267: 2255: 2251: 2244: 2241: 2238:, p. 14. 2237: 2232: 2229: 2225: 2220: 2217: 2213: 2208: 2205: 2193: 2189: 2182: 2180: 2178: 2174: 2161: 2157: 2150: 2147: 2139:September 11, 2134: 2130: 2124: 2121: 2108: 2104: 2103: 2098: 2091: 2089: 2087: 2085: 2081: 2074: 2070: 2067: 2066: 2062: 2057: 2053: 2052: 2048: 2046: 2043: 2041: 2040:nominal value 2036: 2029:Resale market 2028: 2026: 2024: 2023: 2018: 2014: 2013: 2008: 2004: 1999: 1997: 1993: 1989: 1985: 1981: 1977: 1972: 1970: 1966: 1965:Daugava River 1962: 1957: 1955: 1951: 1947: 1946: 1941: 1937: 1933: 1929: 1925: 1921: 1917: 1916:Alfred Molina 1913: 1909: 1905: 1904: 1899: 1897: 1892: 1890: 1886: 1881: 1879: 1870: 1868: 1865: 1863: 1859: 1855: 1844: 1839: 1833: 1831: 1826: 1822: 1816: 1814: 1810: 1805: 1803: 1799: 1789: 1788: 1783: 1774: 1772: 1768: 1764: 1762: 1757: 1753: 1751: 1747: 1743: 1737: 1735: 1731: 1721: 1717: 1715: 1711: 1707: 1703: 1699: 1693: 1692:Rothko Chapel 1682: 1674:Rothko Chapel 1673: 1671: 1669: 1665: 1661: 1657: 1653: 1645: 1643: 1641: 1636: 1634: 1629: 1627: 1623: 1619: 1615: 1611: 1607: 1603: 1599: 1595: 1587: 1585: 1583: 1582:Will Gompertz 1579: 1575: 1574: 1568: 1566: 1565: 1561:'s 2009 play 1560: 1556: 1552: 1548: 1544: 1538: 1534: 1532: 1531:William Scott 1528: 1524: 1520: 1509: 1501: 1495: 1493: 1492: 1487: 1486: 1479: 1476: 1471: 1469: 1465: 1461: 1457: 1453: 1449: 1445: 1439: 1431: 1428: 1422: 1419: 1416: 1413: 1410: 1407: 1404: 1403: 1402: 1398: 1396: 1391: 1389: 1384: 1381: 1374: 1369: 1367: 1361: 1357: 1353: 1351: 1347: 1343: 1339: 1335: 1327: 1325: 1321: 1318: 1317: 1312: 1308: 1304: 1300: 1299:Betty Parsons 1295: 1293: 1289: 1285: 1276: 1274: 1271: 1269: 1265: 1261: 1257: 1253: 1248: 1244: 1237: 1235: 1231: 1229: 1228:Rothko Chapel 1224: 1218: 1213: 1208: 1203: 1199: 1197: 1191: 1189: 1185: 1181: 1180:Betty Parsons 1172: 1170: 1168: 1164: 1163:Henri Matisse 1160: 1159:Betty Parsons 1155: 1151: 1149: 1145: 1141: 1137: 1133: 1132:Possibilities 1129: 1123: 1121: 1117: 1113: 1109: 1105: 1101: 1097: 1093: 1089: 1084: 1082: 1078: 1070: 1066: 1062: 1055: 1053: 1051: 1047: 1043: 1038: 1036: 1028: 1024: 1020: 1016: 1014: 1010: 1004: 999: 997: 993: 989: 980: 976: 972: 968: 961: 959: 957: 953: 949: 945: 940: 937: 933: 932: 927: 922: 920: 916: 912: 908: 904: 903:Salvador Dalí 900: 896: 892: 888: 883: 881: 877: 873: 869: 861: 859: 857: 853: 852: 846: 845: 839: 838: 833: 829: 828: 822: 821: 816: 815: 810: 809: 803: 802: 797: 796: 791: 790: 785: 780: 778: 777: 772: 762: 760: 759: 754: 753: 748: 744: 740: 739:Sigmund Freud 736: 731: 729: 725: 720: 711: 709: 707: 703: 694: 692: 689: 687: 686: 681: 677: 671: 668: 659: 657: 655: 649: 647: 643: 642:Joseph Solman 639: 635: 631: 627: 623: 619: 610: 608: 606: 602: 598: 594: 590: 585: 583: 579: 575: 571: 567: 563: 562:Joseph Solman 559: 555: 550: 546: 544: 540: 536: 525: 523: 519: 515: 514:Arshile Gorky 511: 507: 503: 495: 493: 491: 487: 483: 477: 473: 471: 467: 462: 460: 456: 452: 448: 445: 441: 436: 434: 430: 426: 421: 419: 415: 411: 407: 399: 397: 395: 391: 387: 383: 379: 374: 372: 367: 363: 362: 358:, Latvia), a 357: 349: 347: 345: 344: 338: 336: 332: 328: 327:Rothko Chapel 324: 320: 316: 312: 308: 304: 300: 296: 291: 288: 284: 280: 279:New York City 276: 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Retrieved 2102:The Guardian 2100: 2055: 2049:Bibliography 2044: 2032: 2020: 2010: 2000: 1995: 1987: 1973: 1958: 1954:Alfred Enoch 1943: 1938:, including 1927: 1906:, a play by 1901: 1900: 1895: 1893: 1884: 1882: 1878:Pace Gallery 1874: 1866: 1850: 1817: 1813:Tate Gallery 1809:barbiturates 1806: 1795: 1785: 1769: 1765: 1761:transcendent 1758: 1754: 1738: 1726: 1695: 1656:Nathan Pusey 1649: 1637: 1633:Jasper Johns 1630: 1622:Lichtenstein 1591: 1571: 1569: 1562: 1547:Tate Britain 1542: 1539: 1535: 1519:Michelangelo 1516: 1489: 1485:Independence 1484: 1480: 1472: 1468:Simon Schama 1441: 1426: 1400: 1392: 1385: 1376: 1371: 1363: 1359: 1354: 1346:Sidney Janis 1333: 1331: 1322: 1314: 1296: 1288:Fra Angelico 1280: 1272: 1249: 1245: 1241: 1232: 1220: 1215: 1210: 1205: 1200: 1195: 1192: 1188:East Hampton 1176: 1166: 1156: 1152: 1147: 1131: 1127: 1124: 1120:Ad Reinhardt 1085: 1080: 1076: 1074: 1064: 1056:"Multiforms" 1049: 1045: 1039: 1034: 1032: 1022: 1012: 1008: 1006: 1001: 984: 970: 941: 935: 929: 923: 884: 876:abstract art 865: 855: 848: 841: 835: 831: 824: 818: 812: 805: 799: 793: 787: 781: 774: 768: 756: 750: 732: 715: 706:antisemitism 698: 690: 683: 672: 663: 650: 630:Louis Harris 614: 586: 581: 574:Milton Avery 551: 547: 531: 499: 496:Early career 485: 479: 475: 463: 447:Emma Goldman 440:Bill Haywood 437: 422: 418:colon cancer 410:Ellis Island 403: 375: 359: 353: 341: 339: 307:Tate Gallery 292: 283:World War II 271:Ellis Island 260: 239: 206: 205: 108:(1970-02-25) 44: 25: 6270:1970 deaths 6265:1903 births 6260:Mark Rothko 6239:(2009 play) 6228:Rothko case 6205:Color field 5987:Mark Rothko 5818:, a second 5789:Tate Modern 5783:Exhibitions 5711:Mark Rothko 5685:Mark Rothko 5631:Mark Rothko 5554:Logan, John 5361:. Taschen. 5153:October 23, 5147:vulture.com 4772:November 8, 4552:Artnet News 4301:Ashton 1983 4289:Ashton 1983 4157:February 9, 4135:October 27, 4009:Ashton 1983 3951:Ashton 1983 3860:Ashton 1983 3712:Dore Ashton 3660:Mark Rothko 3595:Ashton 1983 3493:|work= 3348:Mark Rothko 3312:"Sacrifice" 3236:Ashton 1983 3191:Ashton 1983 3155:Ashton 1983 3092:February 6, 3061:Ashton 1983 3046:February 6, 3041:www.nga.gov 3012:Ashton 1983 2997:February 5, 2960:February 5, 2668:Ashton, 35. 2657:Ashton 1983 2586:Ashton 1983 2439:Ashton 1983 2406:Ashton 1983 2335:Ashton 1983 2308:February 5, 2224:Ashton 1983 2197:October 22, 2166:January 13, 2035:the highest 2022:Color Field 2015:(2006) and 1998:(1969–70). 1978:and by the 1936:Tony Awards 1858:Rothko Case 1845:, New York. 1843:East Marion 1830:warm colors 1821:David Anfam 1802:Dore Ashton 1750:Crucifixion 1452:Park Avenue 1388:Dore Ashton 1350:Franz Kline 1266:, modified 1256:ultraviolet 1173:Late period 1140:contingency 1128:Tiger's Eye 956:Thomas Mann 952:James Joyce 948:T. S. Eliot 570:John Graham 248:color field 207:Mark Rothko 153:color field 119:Nationality 52: 1949 32:Mark Rothko 6254:Categories 5869:exhibition 5791:exhibition 5377:1235697992 5030:Christie's 4938:August 18, 4751:August 18, 4726:August 18, 3316:Guggenheim 3138:On My Wall 2838:hekint.org 2776:1008510353 2737:1008510353 2075:References 2017:Anna Clyne 1961:Daugavpils 1930:opened on 1908:John Logan 1710:Cy Twombly 1668:lithol red 1664:Guggenheim 1626:Rosenquist 1559:John Logan 1553:, and the 1549:, Japan's 1167:Red Studio 1104:David Hare 907:Surrealism 868:Surrealism 832:Gethsemane 820:The Furies 667:aquarelles 605:Depression 601:aquarelles 470:autodidact 451:Surrealism 356:Daugavpils 333:chapel in 319:lithol red 287:Surrealism 263:Daugavpils 95:Daugavpils 78:1903-09-25 6222:(teacher) 6220:Max Weber 6153:Buildings 5994:Paintings 5879:Reviews: 5815:The Times 5807:The Times 5664:slideshow 5507:135513094 5443:cite book 5435:945949663 5319:231779179 4799:March 18, 4613:March 20, 4588:March 20, 3767:Qiu, Jane 3495:ignored ( 3485:cite book 3285:Sacrifice 3117:March 24, 2902:March 24, 2800:March 20, 2259:March 24, 2254:Sotheby's 2113:March 17, 1940:Best Play 1746:Byzantine 1380:de Menils 1238:Technique 1116:John Cage 1035:Sacrifice 1023:Sacrifice 944:Carl Jung 842:Rites of 825:Altar of 808:Iphigenia 784:Aeschylus 743:Carl Jung 735:mythology 719:Romantics 680:Aeschylus 644:to form " 539:Paul Klee 522:Modernism 518:Max Weber 490:bourgeois 444:anarchist 350:Childhood 337:, Texas. 252:painterly 182:Patron(s) 159:Spouse(s) 97:, Latvia) 6033:Untitled 5754:Archived 5738:Archived 5720:Archived 5662:Guardian 5621:Archived 5537:Archived 5478:44883577 5406:27811705 5120:Archived 5085:CNN News 4985:BBC News 4891:March 2, 4885:Archived 4694:Archived 4669:July 24, 4557:Archived 4508:Archived 4365:July 13, 4355:Tate Etc 4335:June 27, 4256:July 24, 4228:July 24, 4113:July 13, 4108:Tate Etc 3614:July 13, 3376:. 2023. 3324:Archived 3295:. 2023. 3087:Tate Etc 2927:June 28, 2844:June 28, 2606:July 13, 2496:June 18, 2107:Archived 2063:See also 2025:(2020). 1988:Untitled 1932:Broadway 1660:Triptych 1284:frescoes 1112:Jean Arp 1081:Untitled 919:Mondrian 911:Gottlieb 849:Room in 795:Antigone 789:Oresteia 726:and the 695:Maturity 622:Ben-Zion 442:and the 323:restored 261:Born in 244:abstract 169:Children 145:Movement 140:Painting 122:American 6190:Related 6172:Museums 5921:article 5913:article 5910:Timeout 5687:at the 5633:at the 5348:9219133 5291:Sources 5010:June 4, 4964:June 4, 4880:ARTnews 4858:July 1, 4830:July 1, 3821:June 4, 3783:Bibcode 3739:June 6, 3475:June 7, 3441:June 7, 3404:June 4, 2897:Haaretz 2160:Veranda 1992:Al Held 1790:(1970). 1706:Houston 1614:pop art 1334:Fortune 1316:Fortune 1071:in 2023 1029:in 2023 981:in 1946 827:Orpheus 801:Oedipus 724:Fascism 676:tragedy 646:The Ten 382:Litvish 378:Yiddish 371:Marxist 335:Houston 311:Harvard 301:in the 6163:(1971) 6126:(1970) 6116:(1961) 6106:(1958) 6103:No. 10 6096:(1958) 6086:(1958) 6076:(1957) 6066:(1954) 6056:(1954) 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