Mark Rothko - Knowledge (XXG)

1871:. 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 790:. 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". 1552:

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

1511: 1094:(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. 51: 1519: 5605: 1815:'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. 1401:, 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. 663:

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

756:. 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 1692: 1849: 1009:, 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: 1731: 1026:, 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. 1778:

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":

1505:, 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". 442:, 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 676:

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

535:, 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. 5687:, 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. 431:, 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. 1536:, 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 978: 3393:, 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. 1048:(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. 3721:(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 1258:

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.

1072: 1681:, 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. 1030: 1544:, 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. 3308:

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

1623:'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", 1551:

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

1665:. 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 1839:

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

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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

1101:'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, 1014:

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.

591:, 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 1830:

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.

1022:(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 1188:

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

1540:. 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 1677:. 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 606:. 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 1755:. 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 869:) 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. 4689:, 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. 1324:. 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 1793: 1750:

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

618:. 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. 732:

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,

1001:, 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 3641: 379:

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

316:, 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 1887:

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

1305:, 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. 6365: 4255: 4895: 4361: 1371:

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.

5848: 5755:, 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) 4518: 1595:

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.

5931: 1774:. 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. 6385: 1051:

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.

1059:(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. 1642:

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.

419:, 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 1878:

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".

527:. 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 780:

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

1811:. 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 333: 6023: 1587:, 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 265:

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

1719:, 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 6360: 6340: 6073: 1044:

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

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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

351:

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.

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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

728:

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

479:. 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 4885: 6400: 2999:"Jackson Pollock: Interviews, Articles, and Reviews. Pepe Karmel, Editor. | The Museum of Modern Art, New York. Distributed by Harry N. Abrams, 1999. P. 202" 1986: 1312:

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

659:". According to a gallery show catalog, the mission of the group was "to protest against the reputed equivalence of American painting and literal painting." 560:

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

387:

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

1747:

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.

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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

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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.

5062: 4567: 6410: 6310: 6305: 5220: 4362:"Press Releases | Late at Tate Liverpool (22 October 2009): Reflect on Mark Rothko's Seagram Murals in the twilight hours (Tate Liverpool)" 4139: 1218:

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!

6345: 435: 5180: 1416:

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

1180:, acquired by the Museum of Modern Art that year. He later credited it as another key source of inspiration for his later abstract paintings. 5988: 5507: 5435: 5377: 5276: 4401: 3684: 3651: 3478: 2473: 5198: 6420: 6390: 6355: 6350: 2139: 1269:

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

953:

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

1743:, 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 6435: 5958:

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

1767:

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".

1453:

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

877:

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

449:

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

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

6380: 6295: 4077: 1118: 4665: 1197:, the paintings were nothing short of a revelation. After painting his first "multiform", Rothko had secluded himself in his home in 6425: 5478: 5406: 5348: 5319: 2776: 2737: 2388: 2166: 520: 519:, he saw students sketching a model. According to Rothko, this was the beginning of his life as an artist. He later enrolled in the 50: 5824: 5816: 5036: 4829: 6370: 5727: 3330: 2045: 1712: 1425:

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

5764: 5119: 3405: 6430: 6415: 6395: 6300: 4336: 1763:. The de Menils believed the universal "spiritual" aspect of Rothko's work would complement the elements of Roman Catholicism. 1661:

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

1608: 516: 443: 2056:

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

5671: 5896: 5664: 4476: 5905: 5704: 4557:"Running a Famous Artist's Estate Is a Maze of Infighting and Deal-Making. Here's How the Rothkos and Other Families Do It" 3152: 3094:"Myth-Making: Abstract Expressionist Painting From The United States | The Tate Gallery, March 10, 1992 – January 10, 1993" 2016:

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

6315: 6033: 1198: 664: 353: 1867:, the executors of his estate, over the sham sales. The lawsuit continued for more than 10 years and became known as the 1653:

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

1611:. Rothko's fame and wealth had substantially increased; his paintings began to sell to notable collectors, including the 5961: 2492: 1674: 768: 599: 2903: 1384:

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

1145:. Using the forums as an opportunity to assess the current art scene, Rothko also discussed in detail his own work and 977: 5852: 2440:

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

1474: 1149:. These articles reflect the elimination of figurative elements from his painting, and a specific interest in the new 1006: 512: 4857: 3334: 1223:

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

4701: 3744: 2929:"Abstract Expressionism | Essay | the Metropolitan Museum of Art | Heilbrunn Timeline of Art History" 598:

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

6290: 1771: 381: 5743: 6320: 6063: 5981: 5011: 2032: 1990: 603: 296:, Rothko's art entered a transitional phase during the 1940s, where he experimented with mythological themes and 6375: 6133: 5944: 5684: 2500: 2309: 1950: 1834:

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

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

656: 280:, then under the rule of the Russian Empire, Rothko and his family emigrated to the United States, arriving at 4799: 2065:

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

1909:(2004), about his philosophies on art, edited by his son Christopher, was published by Yale University Press. 1284:

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

468:, Rothko organized debates about it. Despite the repressive political atmosphere, he wished to become a labor 5542: 1419:

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

5955: 5699: 5290: 5090: 3384: 3303: 1894:

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

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

31: 5951: 5628: 5604: 2198: 6285: 6208: 6190: 6053: 5738: 3712: 2844: 1979: 1541: 1537: 1313: 1233: 1071: 266: 159: 5695: 4556: 3047: 1899: 1853: 1649:

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

1029: 1005:, but she was initially reluctant to take on his artworks. Rothko's one-person show at Guggenheim's the 487:

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

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

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

6280: 6275: 6270: 5974: 5645: 4508:"A Betrayal The Art World Can't Forget; The Battle for Rothko's Estate Altered Lives and Reputations" 3793: 1501: 890: 786: 695: 545: 5153: 3618: 2801: 1209:, on the other hand, appears to vibrate against the orange around it, creating an optical flicker." 6123: 5923: 5877: 5564: 5125: 2610: 1982:

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

1918: 1650: 1604: 1569: 1302: 1274: 1262: 1114: 781: 607: 325: 5885: 4114: 2260: 1379:

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

6230: 5453: 5067: 4923: 4752: 4513: 4481: 3495: 2013: 1994: 1960: 1724: 1612: 1533: 1390: 1326: 941: 528: 465: 376: 341: 205: 4965: 4727: 4614: 4033: 1261:

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

423:, in late 1913. From there, they crossed the country, to join Jacob and the elder brothers, in 6103: 6083: 6043: 5538: 5513: 5503: 5484: 5474: 5441: 5431: 5412: 5402: 5383: 5373: 5354: 5344: 5325: 5315: 5243: 4713: 4673: 4439: 4073: 3680: 3647: 3474: 2782: 2772: 2743: 2733: 2469: 2463: 2384: 1974:, a monument to him, designed by sculptor Romualds Gibovskis, was unveiled on the bank of the 1872: 1201:

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

1146: 1102: 632: 588: 531:, who had been a part of the French avant-garde movement. To his students eager to know about 304:

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

5886:

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

5619: 5262: 4555: 4506: 4260: 3801: 3380: 3299: 2107: 1942: 1922: 1864: 1744: 1708: 1636: 1632: 1458: 1348: 1321: 1194: 1106: 1002: 913: 824: 762: 615: 439: 424: 396: 392: 313: 285: 223: 197: 5836: 5783:

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

6113: 6093: 5857: 5768: 5752: 5734: 5680: 5635: 5551: 4834: 4708: 4256:"Harvard's Rothko murals to be seen in new light with revolutionary new projection system" 3507: 2079: 2017: 1808: 1759:

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

1691: 1620: 1583: 1493: 1405: 1317: 1154: 921: 905: 847: 738: 644: 636: 628: 564: 553: 469: 141: 70: 66: 3442: 1316:

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

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

6153: 5597: 5224: 5206: 5184: 4990: 4589: 4161: 3534: 2022: 1930: 1848: 1835: 1752: 1740: 1678: 1662: 1616: 1485: 1470: 1448: 1376: 1110: 1098: 1052: 998: 989: 925: 648: 580: 576: 568: 492: 329: 305: 100: 928:, met and discussed the art and ideas of these European pioneers, as well as those of 6264: 6222: 6171: 5758: 5713:

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

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

3547: 2928: 2050: 1926: 1702: 1592: 1309: 1270: 1238: 1190: 1173: 1169: 929: 749: 652: 572: 524: 337: 289: 201: 5721: 4232: 1730: 803:

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

253:

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

5841: 4862: 4038: 2112: 1964: 1937:. This drama received excellent reviews and usually played to full houses. In 2010 1888: 1823: 1819: 1666: 1643: 1557: 1529: 1478: 1356: 1298: 1130: 945:, Rothko and Gottlieb issued a manifesto, written mainly by Rothko. Addressing the 886: 757: 716: 689:

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

640: 584: 457: 450: 428: 420: 317: 293: 281: 254: 5777:

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

5653:

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

3118: 1843:, Rothko retorted, "Red, yellow, orange – aren't those the colors of an inferno?" 901: 627:

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

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

1492:

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

1097:

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

6238: 6215: 5799: 4940:"Art/Auctions: Contemporary Art evening auction at Christie's November 11, 2003" 3722: 2357:

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

1868: 1831: 1812: 1760: 1628: 1462: 1398: 1360: 1266: 966: 962: 958: 909: 258: 183:

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

163: 3669: 3532:

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

1473:. Rothko agreed to provide paintings for the building's new luxury restaurant, 6246: 5786: 5780: 5569: 5387: 2786: 2747: 2027: 1971: 1955: 1946: 1913: 1840: 1792: 1720: 1574: 1121:. Well-attended lectures there were open to the public, with speakers such as 917: 878: 480: 461: 366: 297: 273: 105: 5808:

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

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

1055:

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

407:, although his elder siblings had been educated in the public school system. 5488: 5416: 3542:, in which Rothko's statement was published, was the second of this series. 2587:

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

2570:

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

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

5707:

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

5358: 5037:"Post-War and Contemporary Art Evening Sale 8 May 2012 – Sale 2557, Lot 20" 1607:

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

936: 332:

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

5425: 3322: 1408:. In a tenor unusual for him, he discussed art as a trade and offered the 460:, where he developed strong oratorical skills he later used in defense of 5468: 5396: 5095: 4995: 4443: 3777: 2579:

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

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

1122: 805: 799: 399:

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

328:); their colors faded badly over time due to Rothko's use of the pigment 5716: 5338: 4858:"Philharmonia/Rouvali/Levit review – secure and clear-sighted Beethoven" 1782:

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

893:, "Cubism and Abstract Art", and "Fantastic Art, Dada, and Surrealism". 4890: 2566:, July–August 1933, Museum of Art, Portland. Cited in Adam Greenhalgh, 2049:

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

2002: 1975: 1716: 1624: 1454: 939:

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

837: 830: 811: 734: 686: 388: 345: 321: 5367: 4777: 1133:, but the school failed financially and closed in the spring of 1949. 916:, artists who had immigrated to the United States because of the war, 741:. For Rothko, "without monsters and gods, art cannot enact a drama". 17: 5497: 5309: 4562: 1734:

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

1646:'s flags, Rothko said, "We worked for years to get rid of all that." 1294: 882: 861: 854: 404: 400: 371: 277: 96: 5641: 3822: 3806: 3781: 5954:

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

4233:"Harvard's Famously Damaged Rothko Paintings 'Restored' With Light" 3145:"Important Ideas that Changed Art Forever – Abstract Expressionism" 1953:. Molina played Rothko in both London and New York. A recording of 1412:

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

3546:

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

2845:"Mark Rothko and the dialogue in his mind - Hektoen International" 1791: 1729: 1690: 1517: 1509: 1278: 1070: 1028: 976: 5239:"Rothko painting fetches $ 82 million at Christie's auction" 1673:, had the paintings hung in January 1963, and later shown at the 1078:(1948), an example of the artist's "multiform" paintings, at the 5221:"Mellon's Rothko Painting Sells for $ 46.5 Million at Sotheby's" 1995:

Governor Nelson A. Rockefeller Empire State Plaza Art Collection

1165:

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

712: 476: 5970: 5690: 3552:

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

2904:"This day in Jewish history / Artist Mark Rothko is found dead" 681:

tapping into what could be considered universal consciousness.

583:, was part of a group of young artists surrounding the painter 5966: 5781:

Mark Rothko: Insights from Arne Glimcher and the Rothko Family

5774: 5681:

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

4643: 3745:"Mark Rothko : Into The Darkness | Blog | Rippingham Art" 1588: 1499:

he disclosed to journalist John Fischer, who was publisher of

1172:

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

415:

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

4830:"Spano's Program an Enticing Taste of the Festival's Future?" 3406:"Mark Rothko, No 18, 1948, Oil on canvas, Private collection" 1669:, following an explanation of the religious symbology of the 5771:, documentary film by Isy Morgensztern. French/English NTSC. 5620:"Kate Rothko Talks About Her Father, The Artist Mark Rothko" 5578:

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

5473:. Translated by Kaufmann, Walter. New York: Modern Library. 395:), Hebrew and Russian. Following his father's return to the 235: 5259:"Basquiat sets artist record at Christie's sale at $ 57.3M" 4549: 4547: 4545: 4426:

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

1213:

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

320:. The Harvard Mural series was donated to a dining room in 241: 5577: 5181:"Paul Allen's Rothko Sells for $ 56.2 Million at Phillips" 4500: 4498: 4496: 4494: 4492: 3389:

In early 1946 the Whitney Museum of American Art acquired

2053:

record for any postwar painting sold at a public auction.

1556:

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

232: 4886:"The Most Expensive Works by Mark Rothko Sold at Auction" 3589: 3587: 3538:, as the first number of the series. The number entitled 5710: 2998: 2167:"These Are the 10 Most Expensive Paintings in the World" 2069:(563–565). Malden, MA: Blackwell Publishers, Ltd., 1999. 1568:

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

5063:"Record Sales for a Rothko and Other Art at Christie's" 4966:"An Outsider in Latvia, America & Art: Mark Rothko" 4919:"Record Sales for A Rothko And Other Art at Christie's" 3619:"The Collection | Mark Rothko. No. 3/No. 13. 1949" 2493:"Oral history interview with Sally Avery, 1982 Feb. 19" 2067:

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

6366:

Emigrants from the Russian Empire to the United States

4162:"Rothko damage 'could take up to 18 months to repair'" 3290: 3288: 3048:""Mark Rothko: Early Years" | National Gallery of Art" 5677:

including pictures of works and photographs of Rothko

238: 5787:

Exhibition Overview: Mark Rothko: Paintings on Paper

5199:"Sotheby's $ 343 Million Sale Led by Jasper Johns's 4072:. London: Thames & Hudson. pp. Vol 2 p.15. 3718:

American Visions: The Epic History of Art in America

3554:, New York (Arcade Publishing/Artists and Art), 2013 2407:(New York: Farrar Straus Giroux, 2003), pp. 129–130. 1997:

in Albany, New York includes both Rothko's painting

1896:

Mark Rothko: The Works on Canvas: Catalogue Raisonné

1434:

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

229: 6200: 6182: 6163: 6145: 6004: 5952:

Interview with Bernard Braddon and Sidney Schectman

4140:"Tate Modern unveils painstakingly restored Rothko" 2140:"Reviving Mark Rothko's Harvard Murals Using Light" 1925:in London, on December 3, 2009. The play, starring 1431:

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

226: 191: 179: 169: 155: 147: 137: 129: 113: 78: 41: 5118: 4402:"Risk Factors in Suicide: Mark Rothko and His Art" 3668: 1603:Rothko's first completed space was created in the 889:. In 1936, Rothko attended two exhibitions at the 6406:Suicides by sharp instrument in the United States 5739:Daugavpils Rabinats Fonds 4359 Apraksts 2 Lieta 8 5154:"A Rothko From 1954 Just Sold for an Ungodly Sum" 3379:(Museum label). Mark Rothko: Paintings on Paper. 3298:(Museum label). Mark Rothko: Paintings on Paper. 1443:Seagram Murals–Four Seasons restaurant commission 1363:. Their relationship proved mutually beneficial. 6024:White Center (Yellow, Pink and Lavender on Rose) 1807:In early 1968, Rothko was diagnosed with a mild 1404:In November 1958, Rothko gave an address to the 1117:founded the Subjects of the Artist School at 35 6074:No. 6 (Yellow, White, Blue over Yellow on Gray) 5277:"Rust, Blacks on Plum sale details, Christie's" 2542:On Avery's impact on Rothko: Ashton, pp. 21–25. 2101: 2099: 2097: 2095: 1905:A previously unpublished manuscript by Rothko, 1695:Rothko Chapel in Houston, Texas, North America. 1381: 1225: 1215: 1168:In 1947, he had a first solo exhibition at the 1011: 6014:No. 3/No. 13 (Magenta, Black, Green on Orange) 1723:gallery were funded by Texas oil millionaires 1351:. In 1954, he exhibited in a solo show at the 935:New paintings were unveiled at a 1942 show at 920:took New York by storm. Rothko and his peers, 6386:Lincoln High School (Portland, Oregon) alumni 5982: 3640:Chave, Anna; Rothko, Mark (January 1, 1989). 2767:. New Haven: Yale University Press. pp. 2728:. New Haven: Yale University Press. pp. 30:"Rothko" redirects here. For other uses, see 8: 5559:Mark Rothko: The Decisive Decade, 1940–1950. 5091:"Art records fall led by Rothko in New York" 3365:. Museum of Modern Art, New York. p. 7. 2954:"The Romantics Were Prompted," Mark Rothko, 1970:In Rothko's birthplace, the Latvian city of 511:In the autumn of 1923, Rothko found work in 4428:"Mark Rothko's Paintings... Suicide Notes?" 2761:Rothko, Mark; López-Remiro, Miguel (2006). 2722:Rothko, Mark; López-Remiro, Miguel (2006). 2583:(July 30, 1933). Cited by Adam Greenhalgh, 1985:A number of Rothko's works are held by the 896:In 1942, following the success of shows by 841:. Rothko evokes Judeo-Christian imagery in 5989: 5975: 5967: 5691:Mark Rothko Art Centre, Daugavpils, Latvia 5458:: CS1 maint: location missing publisher ( 5120:"Why Mark Rothko is still setting records" 4640:""Red" - About - Great Performances - PBS" 4505:Dobrzynski, Judith H. (November 2, 1998). 3578:Mark Rothko: The Works on Canvas, Volume 1 3467:Chilvers, Ian; Glaves-Smith, John (2009). 2564:Drawings and Water Colors by M. Rothkowitz 1422:Tension. Either conflict or curbed desire. 1375:Rothko began to insist that he was not an 49: 38: 6331:American people of Russian-Jewish descent 6326:American people of Latvian-Jewish descent 5369:Mark Rothko, 1903-1970: Pictures as Drama 3805: 1987:Museo Nacional Centro de Arte Reina Sofía 411:Migration from Russian Empire to the U.S. 5599:Mark Rothko, 1903–1970: A Retrospective. 5401:. Chicago: University of Chicago Press. 4477:"Mark Rothko's Dark Palette Illuminated" 1852:Rothko's grave at East Marion Cemetery, 1847: 1228:would extend the affliction universally! 427:. Jacob's death, a few months later, of 284:in late 1913 and originally settling in 5586:New Haven: Yale University Press, 2006. 4702:Latvia opens museum dedicated to Rothko 4475:Sheets, Hilarie M. (November 2, 2016). 4409:Journal of Psychiatry and Mental Health 4323: 4218: 4206: 4194: 4182: 4101: 4007: 3986: 3949: 3919: 3907: 3882: 3858: 3846: 3764: 3593: 3563: 3520: 3429: 3279: 3258: 3234: 3213: 3189: 3177: 3034: 2985: 2881: 2869: 2709: 2688: 2655: 2643: 2631: 2551: 2530: 2428: 2366: 2333: 2310:"Mark Rothko | The Oregon Encyclopedia" 2296: 2284: 2259:Molcard, Eva Sarah (October 12, 2018). 2246: 2222: 2108:"The art cheats who betrayed my father" 2091: 1522:Frescoes in the Villa of the Mysteries. 1428:Wit and play ... for the human element. 365:Rothko was born in 1903 in Dvinsk (now 6361:Drug-related suicides in New York City 6341:Art Students League of New York alumni 5451: 4884:Villa, Angelica (September 29, 2021). 4798:Morris, Bernadine (January 28, 1971). 4570:from the original on February 29, 2024 4521:from the original on February 28, 2024 4311: 4299: 4019: 3961: 3870: 3605: 3503: 3493: 3337:from the original on November 26, 2023 3246: 3201: 3165: 3071: 3022: 2667: 2596: 2487: 2485: 2449: 2416: 2345: 2234: 2120:from the original on November 14, 2023 1921:based on Rothko's life, opened at the 1615:. In January 1961, Rothko sat next to 499:, that lampooned the school's stuffy, 261:paintings that depicted irregular and 5467:Nietzsche, Friedrich Wilhelm (2000). 5343:. New York: Oxford University Press. 5133:from the original on January 12, 2022 4856:Clements, Andrew (November 6, 2022). 4554:Morgensztern, Maïa (August 3, 2021). 3896:Mark Rothko: Subjects in Abstraction, 1707:The Rothko Chapel is adjacent to the 175:Mary Alice "Mell" Beistle (1944–1970) 7: 5845:, guardian.co.uk, September 28, 2008 5535:New York: Thames & Hudson, 1990. 4700:Sophia Kishkovsky (April 25, 2013), 3643:Mark Rothko: Subjects in Abstraction 3443:"Subject of the Artist | art school" 2192: 2190: 2188: 2106:Cooke, Rachel (September 14, 2008). 1514:Vestibule of the Laurentian Library. 1288:European travels and increasing fame 1254:within one architectonic structure. 610:, consisting mostly of drawings and 6401:San Francisco Art Institute faculty 5705:Mark Rothko Broadcast, Utrecht 2015 4991:"Huge bids smash modern art record" 4964:Radic, Randall (January 31, 2008). 4778:"Empire State Plaza Art Collection" 4032:Jonathan Jones (December 6, 2002). 3977:(London: Tate Gallery, 2008), p. 91 3119:"Mark Rothko Paintings, Bio, Ideas" 2465:Historical Dictionary of Surrealism 2199:"A Newish Biography of Mark Rothko" 563:During the early 1930s, Rothko met 523:, where one of his instructors was 5711:Mark Rothko Centenary, Latvia 2003 5197:Tarmy, James (November 11, 2014). 5152:Dionne, Zach (November 13, 2012). 3143:Wallace, Nora (February 5, 2016). 2802:"Artists Who Inspired Mark Rothko" 2197:Glueck, Grace (October 11, 2016). 403:at age five, where he studied the 257:painter. He is best known for his 25: 6336:20th-century American printmakers 5728:Raduraksti (Latvia for "lineage") 5427:Mark Rothko: Break Into the Light 4898:from the original on June 6, 2023 4828:Steiman, Harvey (July 19, 2011). 4368:. October 9, 2009. Archived from 3703:(New York: Taschen, 2005), p. 42. 3675:. Yale University Press. p. 2381:Mark Rothko: Break into the Light 1020:Slow Swirl at the Edge of the Sea 521:Parsons The New School for Design 515:. While visiting a friend at the 475:Rothko received a scholarship to 5609:New York: Harry N. Abrams, 1978. 5603: 5311:Mark Rothko: The Works on Canvas 5219:Kazakina, Katya (May 14, 2015). 5179:Kazakina, Katya (May 15, 2014). 5117:Waters, Florence (May 9, 2012). 4337:"Mark Rothko | Encyclopedia.com" 4070:William Scott Catalogue Raisonné 3331:Solomon R. Guggenheim Foundation 2468:. Scarecrow Press. p. 426. 2405:Arshile Gorky: His Life and Work 1933:, centered on the period of the 1397:Rothko's friend, the art critic 1308:Rothko had one-man shows at the 495:, started a satirical magazine, 357:sold in 2014 for $ 186 million. 222: 5291:"The Macklowe Collection no. 7" 5089:Whitman, Hilary (May 9, 2012). 1963:with Molina playing Rothko and 1875:as the foundation's president. 1457:had recently completed the new 1343:Shortly thereafter, due to the 1207:Magenta, Black, Green on Orange 693:and his reading of Nietzsche's 517:Art Students League of New York 444:Industrial Workers of the World 6411:20th-century American painters 6311:American contemporary painters 6306:Abstract expressionist artists 5561:New York: Skira Rizzoli, 2012. 5010:Crow, Kelly (April 13, 2011). 4254:Edgers, Geoff (May 20, 2014). 2585:Mark Rothko Paintings on Paper 2568:Mark Rothko Paintings on Paper 1359:, who represented Pollock and 497:The Yale Saturday Evening Pest 1: 6346:Artists from Portland, Oregon 6034:No. 6 (Violet, Green and Red) 5395:Breslin, James E. B. (1993). 4800:"Givenchy: Elegance and More" 4231:Shea, Andrea (May 20, 2014). 3470:Subjects of the Artist School 1477:. This was, as art historian 873:"Mythomorphic" abstractionism 665:Works Progress Administration 354:No. 6 (Violet, Green and Red) 251:Markus Yakovlevich Rothkowitz 83:Markus Yakovlevich Rothkowitz 59: 56:Mark Rothko, Yorktown Heights 5849:You can have too much Rothko 5837:Welcome to his dark side ... 5760:Rothko, an abstract humanist 5366:Baal-Teshuva, Jacob (2003). 5061:Vogel, Carol (May 8, 2012). 4917:Vogel, Carol (May 8, 2012). 4115:"Tate Modern, Rothko Murals" 3973:Achim Borchardt-Hume (ed.). 3725:, would profoundly disagree. 2261:"Mark Rothko by the Numbers" 2001:(1967) and a large mural by 1934: 1713:the University of St. Thomas 1339:Reactions to his own success 858:. He also invokes Egyptian ( 769:The Interpretation of Dreams 375:(Jewish village) within the 27:Abstract painter (1903–1970) 6421:Federal Art Project artists 6391:Artists who died by suicide 6356:Burials in New York (state) 6351:Barbiturates-related deaths 5810:includes curator interview 5665:Simon Schama's Power of Art 5582:Rothko, Christopher (ed.). 5574:London: Oberon Books, 2009. 5557:Collins, Bradford R. (ed.) 5470:Basic Writings of Nietzsche 3782:"Rothko's methods revealed" 3473:. Oxford University Press. 2203:Los Angeles Review of Books 1826:on the day of his suicide. 1725:John and Dominique de Menil 1627:, particularly the work of 1007:Art of This Century gallery 622:First solo show in New York 513:New York's garment district 308:were to have decorated the 6452: 6436:20th-century American Jews 5789:held on November 19, 2023. 5767:February 24, 2021, at the 5717:Mark Rothko on Wikiart.org 5591:The Legacy of Mark Rothko. 5237:Ng, David (May 14, 2015). 5012:"Out of Nowhere, a Rothko" 4539:(case cite 372 N.E.2d 291) 4432:Ohio State Medical Journal 3989:, p. 371–383,404–409. 2383:. Flame Tree. p. 17. 2314:www.oregonencyclopedia.org 1786:Suicide and estate lawsuit 1700: 1599:Rising American prominence 1446: 1355:, where he met art dealer 723:Inspiration from mythology 29: 6381:20th-century Latvian Jews 6296:American abstract artists 6064:No 1 (Royal Red and Blue) 5314:. Yale University Press. 4068:Whitfield, Sarah (2013). 3894:Anna Chave, Mark Rothko, 3646:. Yale University Press. 1991:Thyssen-Bornemisza Museum 1959:was produced in 2018 for 1465:, designed by architects 775: 604:Gloucester, Massachusetts 211: 187: 48: 6426:Brooklyn College faculty 6134:Untitled (Black on Grey) 5945:Archives of American Art 5685:Getty Research Institute 5398:Mark Rothko: A Biography 4757:Museo Thyssen-Bornemisza 3827:The Museum of Modern Art 2962:, No. 1, Winter 1947-48" 2501:Archives of American Art 1798:Untitled (Black on Grey) 1562:Kawamura Memorial Museum 1353:Art Institute of Chicago 548:, the surrealist art of 464:. With the onset of the 269:movement of modern art. 173:Edith Sachar (1932–1943) 6371:Jewish American artists 5956:Smithsonian Institution 5733:August 3, 2020, at the 5700:National Gallery of Art 5662:The documentary series 5593:New York: DaCapo, 1996. 5533:Abstract Expressionism. 5016:The Wall Street Journal 4707:April 28, 2013, at the 4687:Monument to Mark Rothko 4670:Museum "Jews in Latvia" 3667:Weiss, Jeffrey (1998). 3447:Encyclopædia Britannica 3385:National Gallery of Art 3304:National Gallery of Art 2966:www.theoria.art-zoo.com 2806:National Gallery of Art 2497:Oral history interviews 1967:playing his assistant. 1566:National Gallery of Art 1455:Joseph Seagram and Sons 1234:abstract expressionists 1080:National Gallery of Art 1038:National Gallery of Art 986:National Gallery of Art 969:, among other authors. 593:Bathers, or Beach Scene 552:, and the paintings of 483:than a diligent pupil: 324:'s Holyoke Center (now 310:Four Seasons Restaurant 32:Rothko (disambiguation) 6431:Yale University alumni 6416:American male painters 6396:People from Daugavpils 6301:Abstract expressionism 6209:Abstract expressionism 6191:Mark Rothko Art Centre 6054:No. 61 (Rust and Blue) 5751:July 22, 2019, at the 5634:July 22, 2019, at the 5550:July 22, 2019, at the 5496:Simon, Schama (2006). 5424:Grange, Susan (2016). 4615:"The Artist's Reality" 3821:Kedmey, Karen (2017). 3701:Abstract Expressionism 2700:Anfam, pp. 26, 46, 70. 2462:Aspley, Keith (2010). 2379:Grange, Susan (2016). 2299:, p. 21–22,24,32. 2173:. Hearst Digital Media 1993:, both in Madrid. The 1980:Mark Rothko Art Centre 1857: 1802: 1735: 1696: 1538:Villa of the Mysteries 1523: 1515: 1440: 1386: 1373: 1314:Dorothy Canning Miller 1230: 1220: 1083: 1041: 1016: 993: 538: 489: 267:abstract expressionism 160:Abstract expressionism 5744:registration required 5668:featured Mark Rothko. 5625:, September 14, 2008. 5584:The Artist's Reality. 5337:Ashton, Dore (1983). 5308:Anfam, David (1998). 4619:Yale University Press 4594:Yale University Press 4372:on September 15, 2016 3780:(November 27, 2008). 3155:on February 12, 2017. 1978:in 2003. In 2013 the 1900:Yale University Press 1898:(1998), published by 1851: 1795: 1733: 1694: 1521: 1513: 1410: 1369: 1161:publication of 1945. 1074: 1032: 1018:Rothko's masterpiece 980: 973:Break with Surrealism 776:Nietzsche's influence 600:Lake George, New York 546:German Expressionists 491:Rothko and a friend, 485: 417:Imperial Russian Army 6316:Painters from Oregon 5646:Museum of Modern Art 5160:. New York Media LLC 4676:on February 16, 2015 4646:. September 19, 2019 4465:Grange, pp. 174-179. 4341:www.encyclopedia.com 4092:Schama, pp. 428–434. 3940:Baal-Teshuva, p. 57. 3931:Baal-Teshuva, p. 50. 3356:Selz, Peter (1961). 2893:Baal-Teshuva, p. 31. 1907:The Artist's Reality 1301:in the monastery of 1193:Gallery. For critic 891:Museum of Modern Art 787:The Birth of Tragedy 696:The Birth of Tragedy 685:novel expression of 671:Development of style 6124:Orange, Red, Yellow 5878:Whitechapel Gallery 5126:The Daily Telegraph 4938:Horsley, Carter B. 4164:. November 21, 2012 4055:The Times of London 3798:2008Natur.456..447Q 3550:. Wolfgang Paalen, 3270:Baal-Teshun, p. 39. 3083:Nietzsche 1872, §23 2800:Milgrom, Michaela. 2146:. February 18, 2015 1945:, where it won six 1651:Marlborough Gallery 1605:Phillips Collection 1303:San Marco, Florence 1275:phenol formaldehyde 1263:Electron microscopy 1153:debate launched by 782:Friedrich Nietzsche 760:study of mythology 608:Portland Art Museum 436:Lincoln High School 326:Smith Campus Center 124:New York City, U.S. 5934:September 11, 2011 5899:September 11, 2011 5861:, October 3, 2008. 5539:Cohen-Solal, Annie 5430:. Fulham, London. 5068:The New York Times 4924:The New York Times 4804:The New York Times 4732:museoreinasofia.es 4666:"Historical Sites" 4514:The New York Times 4482:The New York Times 3964:, p. 150–151. 2825:Grange, pp. 50-54. 2144:Architect Magazine 2014:Hubert de Givenchy 1961:Great Performances 1858: 1803: 1736: 1697: 1613:Rockefeller family 1534:Laurentian Library 1524: 1516: 1084: 1042: 1024:The Birth of Venus 994: 942:The New York Times 758:Sir James Frazer's 567:, who, along with 466:Russian Revolution 446:(IWW) was active. 377:Pale of Settlement 342:non-denominational 206:Dominique de Menil 93:September 25, 1903 6291:Abstract painters 6258: 6257: 6104:Four Darks in Red 6084:Black in Deep Red 5917:September 9, 2011 5908:September 8, 2011 5839:, Laura Cumming, 5775:The Rothko Chapel 5509:978-0-06-117610-4 5502:. HarperCollins. 5437:978-1-78361-999-3 5379:978-3-8365-0426-3 5244:Los Angeles Times 4970:Literary Traveler 4944:thecityreview.com 4714:The Art Newspaper 4456:Anfam, pp. 97-99. 4221:, p. 445–42. 3952:, p. 333–42. 3922:, p. 297–42. 3767:, p. 316–42. 3686:978-0-300-08193-0 3653:978-0-300-04961-9 3608:, p. 61,112. 3480:978-0-19-923966-5 3432:, p. 223–42. 3282:, p. 212–42. 3192:, p. 191–42. 2958:, No. 1, p. 84 | 2712:, p. 130–42. 2658:, p. 101–42. 2613:. Portlandart.net 2475:978-0-8108-5847-3 2012:Fashion designer 1873:Donald M. Blinken 1581:In October 2012, 1502:Harper's Magazine 1484:For Rothko, this 1467:Mies van der Rohe 1147:philosophy of art 1103:Robert Motherwell 817:The Sacrifice of 589:Elaine de Kooning 215: 214: 117:February 25, 1970 16:(Redirected from 6443: 6321:Jews from Oregon 6251: 6241: 6234: 6226: 6218: 6211: 6193: 6175: 6156: 6138: 6128: 6118: 6108: 6098: 6088: 6078: 6068: 6058: 6048: 6038: 6028: 6018: 5991: 5984: 5977: 5968: 5821:(includes video) 5747: 5608: 5607: 5596:Waldman, Diane. 5554:Actes-Sud, 2013. 5521: 5499:The Power of Art 5492: 5463: 5457: 5449: 5420: 5391: 5362: 5333: 5295: 5294: 5287: 5281: 5280: 5273: 5267: 5266: 5263:Associated Press 5255: 5249: 5248: 5234: 5228: 5227: 5216: 5210: 5209: 5194: 5188: 5187: 5176: 5170: 5169: 5167: 5165: 5149: 5143: 5142: 5140: 5138: 5122: 5114: 5108: 5107: 5105: 5103: 5086: 5080: 5079: 5077: 5075: 5058: 5052: 5051: 5049: 5047: 5033: 5027: 5026: 5024: 5022: 5007: 5001: 5000: 4987: 4981: 4980: 4978: 4976: 4961: 4955: 4954: 4952: 4950: 4935: 4929: 4928: 4914: 4908: 4907: 4905: 4903: 4881: 4875: 4874: 4872: 4870: 4853: 4847: 4846: 4844: 4842: 4825: 4819: 4818: 4813: 4811: 4795: 4789: 4788: 4786: 4784: 4774: 4768: 4767: 4765: 4763: 4749: 4743: 4742: 4740: 4738: 4724: 4718: 4698: 4692: 4691: 4683: 4681: 4672:. 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Archived from 3140: 3134: 3133: 3131: 3129: 3115: 3109: 3108: 3106: 3104: 3090: 3084: 3081: 3075: 3074:, p. 51–57. 3069: 3063: 3062: 3060: 3058: 3044: 3038: 3032: 3026: 3025:, p. 40–50. 3020: 3014: 3013: 3011: 3009: 2995: 2989: 2983: 2977: 2976: 2974: 2972: 2950: 2944: 2943: 2941: 2939: 2925: 2919: 2918: 2916: 2914: 2900: 2894: 2891: 2885: 2879: 2873: 2867: 2861: 2860: 2858: 2856: 2841: 2835: 2832: 2826: 2823: 2817: 2816: 2814: 2812: 2797: 2791: 2790: 2758: 2752: 2751: 2719: 2713: 2707: 2701: 2698: 2692: 2686: 2680: 2677: 2671: 2670:, p. 30–32. 2665: 2659: 2653: 2647: 2641: 2635: 2634:, p. 57,89. 2629: 2623: 2622: 2620: 2618: 2606: 2600: 2594: 2588: 2581:Sunday Oregonian 2577: 2571: 2561: 2555: 2549: 2543: 2540: 2534: 2528: 2522: 2519: 2513: 2512: 2510: 2508: 2489: 2480: 2479: 2459: 2453: 2447: 2441: 2438: 2432: 2431:, p. 62–63. 2426: 2420: 2414: 2408: 2403:Hayden Herrera, 2401: 2395: 2394: 2376: 2370: 2369:, p. 47–42. 2364: 2358: 2355: 2349: 2343: 2337: 2336:, p. 34–42. 2331: 2325: 2324: 2322: 2320: 2306: 2300: 2294: 2288: 2287:, p. 18–42. 2282: 2276: 2275: 2273: 2271: 2256: 2250: 2244: 2238: 2232: 2226: 2220: 2214: 2213: 2211: 2209: 2194: 2183: 2182: 2180: 2178: 2165:DiMarco, Sarah. 2162: 2156: 2155: 2153: 2151: 2136: 2130: 2129: 2127: 2125: 2103: 1923:Donmar Warehouse 1745:Howard Barnstone 1709:Menil Collection 1475:the Four Seasons 1459:Seagram Building 1349:Brooklyn College 1322:William Baziotes 1195:Harold Rosenberg 1107:William Baziotes 1003:Peggy Guggenheim 763:The Golden Bough 744:Rothko's use of 440:Portland, Oregon 425:Portland, Oregon 397:Orthodox Judaism 314:Seagram Building 286:Portland, Oregon 248: 247: 244: 243: 240: 237: 234: 231: 228: 198:Peggy Guggenheim 194: 120: 92: 90: 64: 61: 53: 39: 21: 6451: 6450: 6446: 6445: 6444: 6442: 6441: 6440: 6376:Jewish painters 6261: 6260: 6259: 6254: 6244: 6237: 6229: 6221: 6214: 6207: 6196: 6189: 6178: 6170: 6159: 6152: 6146:Painting series 6141: 6131: 6121: 6111: 6101: 6094:Black on Maroon 6091: 6081: 6071: 6061: 6051: 6041: 6031: 6021: 6011: 6000: 5995: 5929:The Independent 5858:The Independent 5813:Press reviews: 5796: 5769:Wayback Machine 5753:Wayback Machine 5741: 5735:Wayback Machine 5724:, The Art Story 5636:Wayback Machine 5616: 5602: 5552:Wayback Machine 5528: 5526:Further reading 5510: 5495: 5481: 5466: 5450: 5438: 5423: 5409: 5394: 5380: 5365: 5351: 5336: 5322: 5307: 5304: 5299: 5298: 5289: 5288: 5284: 5275: 5274: 5270: 5265:. 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May 16, 2007. 4989: 4988: 4984: 4974: 4972: 4963: 4962: 4958: 4948: 4946: 4937: 4936: 4932: 4916: 4915: 4911: 4901: 4899: 4883: 4882: 4878: 4868: 4866: 4855: 4854: 4850: 4840: 4838: 4835:The Aspen Times 4827: 4826: 4822: 4809: 4807: 4797: 4796: 4792: 4782: 4780: 4776: 4775: 4771: 4761: 4759: 4751: 4750: 4746: 4736: 4734: 4726: 4725: 4721: 4709:Wayback Machine 4699: 4695: 4679: 4677: 4664: 4663: 4659: 4649: 4647: 4638: 4637: 4633: 4623: 4621: 4613: 4612: 4608: 4598: 4596: 4588: 4587: 4583: 4573: 4571: 4553: 4552: 4543: 4538: 4534: 4524: 4522: 4504: 4503: 4490: 4474: 4473: 4469: 4464: 4460: 4455: 4451: 4425: 4424: 4420: 4404: 4399: 4398: 4394: 4390:Grange, p. 175. 4389: 4385: 4375: 4373: 4360: 4359: 4355: 4345: 4343: 4335: 4334: 4330: 4322: 4318: 4310: 4306: 4298: 4294: 4289: 4285: 4280: 4276: 4266: 4264: 4253: 4252: 4248: 4238: 4236: 4230: 4229: 4225: 4217: 4213: 4205: 4201: 4193: 4189: 4181: 4177: 4167: 4165: 4160: 4159: 4155: 4145: 4143: 4138: 4137: 4133: 4123: 4121: 4113: 4112: 4108: 4100: 4096: 4091: 4087: 4080: 4067: 4066: 4062: 4052: 4051: 4047: 4031: 4030: 4026: 4018: 4014: 4006: 4002: 3998:Schama, p. 398. 3997: 3993: 3985: 3981: 3972: 3968: 3960: 3956: 3948: 3944: 3939: 3935: 3930: 3926: 3918: 3914: 3906: 3902: 3893: 3889: 3881: 3877: 3869: 3865: 3857: 3853: 3845: 3841: 3831: 3829: 3820: 3819: 3815: 3807:10.1038/456447a 3776: 3775: 3771: 3763: 3759: 3749: 3747: 3743: 3742: 3738: 3733: 3729: 3711: 3707: 3698: 3694: 3687: 3666: 3665: 3661: 3654: 3639: 3638: 3634: 3624: 3622: 3617: 3616: 3612: 3604: 3600: 3592: 3585: 3575: 3574: 3570: 3562: 3558: 3531: 3527: 3519: 3515: 3502: 3492: 3485: 3483: 3481: 3466: 3465: 3461: 3451: 3449: 3441: 3440: 3436: 3428: 3424: 3414: 3412: 3404: 3403: 3399: 3391:Baptismal Scene 3377:Baptismal Scene 3375: 3374: 3370: 3362: 3355: 3354: 3350: 3340: 3338: 3320: 3319: 3315: 3294: 3293: 3286: 3278: 3274: 3269: 3265: 3257: 3253: 3245: 3241: 3233: 3229: 3224: 3220: 3212: 3208: 3200: 3196: 3188: 3184: 3176: 3172: 3164: 3160: 3142: 3141: 3137: 3127: 3125: 3117: 3116: 3112: 3102: 3100: 3092: 3091: 3087: 3082: 3078: 3070: 3066: 3056: 3054: 3046: 3045: 3041: 3033: 3029: 3021: 3017: 3007: 3005: 2997: 2996: 2992: 2984: 2980: 2970: 2968: 2952: 2951: 2947: 2937: 2935: 2927: 2926: 2922: 2912: 2910: 2902: 2901: 2897: 2892: 2888: 2880: 2876: 2868: 2864: 2854: 2852: 2843: 2842: 2838: 2833: 2829: 2824: 2820: 2810: 2808: 2799: 2798: 2794: 2779: 2764:Writings on art 2760: 2759: 2755: 2740: 2725:Writings on art 2721: 2720: 2716: 2708: 2704: 2699: 2695: 2687: 2683: 2678: 2674: 2666: 2662: 2654: 2650: 2642: 2638: 2630: 2626: 2616: 2614: 2608: 2607: 2603: 2595: 2591: 2578: 2574: 2562: 2558: 2550: 2546: 2541: 2537: 2529: 2525: 2521:Grange, pg. 20. 2520: 2516: 2506: 2504: 2491: 2490: 2483: 2476: 2461: 2460: 2456: 2448: 2444: 2439: 2435: 2427: 2423: 2415: 2411: 2402: 2398: 2391: 2378: 2377: 2373: 2365: 2361: 2356: 2352: 2344: 2340: 2332: 2328: 2318: 2316: 2308: 2307: 2303: 2295: 2291: 2283: 2279: 2269: 2267: 2258: 2257: 2253: 2245: 2241: 2233: 2229: 2221: 2217: 2207: 2205: 2196: 2195: 2186: 2176: 2174: 2164: 2163: 2159: 2149: 2147: 2138: 2137: 2133: 2123: 2121: 2105: 2104: 2093: 2088: 2080:Rothko Pavilion 2076: 2062: 2042: 2018:Adam Schoenberg 2007:Rothko's Canvas 1884: 1865:Theodore Stamos 1860: 1859: 1809:aortic aneurysm 1805: 1804: 1788: 1705: 1699: 1698: 1687: 1659: 1621:John F. Kennedy 1609:Duncan Phillips 1601: 1591:'s Arts Editor 1584:Black on Maroon 1526: 1525: 1451: 1445: 1406:Pratt Institute 1341: 1318:Jackson Pollock 1293:and Italy. The 1290: 1251: 1245:personal life. 1186: 1155:Wolfgang Paalen 1119:East 8th Street 1069: 1061:Baptismal Scene 1057:Baptismal Scene 982:Baptismal Scene 975: 906:Wolfgang Paalen 875: 867:The Syrian Bull 848:The Last Supper 778: 739:Communist Party 725: 708: 673: 645:Ralph Rosenborg 637:Adolph Gottlieb 629:Ilya Bolotowsky 624: 587:. According to 565:Adolph Gottlieb 554:Georges Rouault 541: 539:Rothko's circle 509: 470:union organizer 413: 363: 225: 221: 192: 174: 142:Yale University 138:Alma mater 125: 122: 118: 109: 103: 94: 88: 86: 85: 84: 74: 71:Consuelo Kanaga 67:Brooklyn Museum 62: 44: 35: 28: 23: 22: 15: 12: 11: 5: 6449: 6447: 6439: 6438: 6433: 6428: 6423: 6418: 6413: 6408: 6403: 6398: 6393: 6388: 6383: 6378: 6373: 6368: 6363: 6358: 6353: 6348: 6343: 6338: 6333: 6328: 6323: 6318: 6313: 6308: 6303: 6298: 6293: 6288: 6283: 6278: 6273: 6263: 6262: 6256: 6255: 6253: 6252: 6242: 6235: 6227: 6219: 6212: 6204: 6202: 6198: 6197: 6195: 6194: 6186: 6184: 6180: 6179: 6177: 6176: 6167: 6165: 6161: 6160: 6158: 6157: 6154:Seagram murals 6149: 6147: 6143: 6142: 6140: 6139: 6129: 6119: 6109: 6099: 6089: 6079: 6069: 6059: 6049: 6039: 6029: 6019: 6008: 6006: 6002: 6001: 5996: 5994: 5993: 5986: 5979: 5971: 5965: 5964: 5959: 5940: 5939: 5938: 5937: 5936: 5935: 5926: 5918: 5909: 5900: 5874: 5873: 5872: 5871: 5870: 5869: 5862: 5846: 5834: 5822: 5795: 5792: 5791: 5790: 5784: 5778: 5772: 5756: 5725: 5719: 5714: 5708: 5702: 5693: 5688: 5678: 5669: 5654: 5648: 5639: 5638:, Pace Gallery 5629:1958–59 Murals 5626: 5615: 5614:External links 5612: 5611: 5610: 5594: 5587: 5580: 5575: 5562: 5555: 5536: 5531:Anfam, David. 5527: 5524: 5523: 5522: 5508: 5493: 5479: 5464: 5436: 5421: 5407: 5392: 5378: 5363: 5349: 5334: 5320: 5303: 5300: 5297: 5296: 5282: 5268: 5250: 5229: 5225:Bloomberg L.P. 5211: 5207:Bloomberg L.P. 5189: 5185:Bloomberg L.P. 5171: 5144: 5109: 5081: 5053: 5028: 5002: 4982: 4956: 4930: 4909: 4876: 4848: 4820: 4790: 4769: 4753:"Rothko, Mark" 4744: 4728:"Rothko, Mark" 4719: 4693: 4657: 4631: 4606: 4581: 4541: 4532: 4488: 4467: 4458: 4449: 4418: 4400:Hartman, J.J. 4392: 4383: 4353: 4328: 4316: 4314:, p. 188. 4304: 4302:, p. 183. 4292: 4283: 4274: 4246: 4223: 4211: 4209:, p. 443. 4199: 4197:, p. 431. 4187: 4185:, p. 427. 4175: 4153: 4142:. May 13, 2014 4131: 4106: 4104:, p. 408. 4094: 4085: 4079:978-0500970416 4078: 4060: 4045: 4034:"Feeding fury" 4024: 4022:, p. 147. 4012: 4010:, p. 376. 4000: 3991: 3979: 3966: 3954: 3942: 3933: 3924: 3912: 3910:, p. 286. 3900: 3887: 3885:, p. 345. 3875: 3873:, p. 130. 3863: 3861:, p. 299. 3851: 3849:, p. 285. 3839: 3813: 3769: 3757: 3736: 3727: 3705: 3699:Barbara Hess, 3692: 3685: 3659: 3652: 3632: 3610: 3598: 3596:, p. 283. 3583: 3576:Anfam, David. 3568: 3566:, p. 378. 3556: 3544:Form and Sense 3525: 3523:, p. 223. 3513: 3479: 3459: 3434: 3422: 3397: 3368: 3348: 3313: 3284: 3272: 3263: 3261:, p. 208. 3251: 3239: 3237:, p. 205. 3227: 3218: 3216:, p. 170. 3206: 3194: 3182: 3180:, p. 181. 3170: 3158: 3135: 3110: 3085: 3076: 3064: 3039: 3037:, p. 160. 3027: 3015: 2990: 2988:, p. 240. 2978: 2945: 2920: 2895: 2886: 2884:, p. 204. 2874: 2872:, p. 144. 2862: 2851:. October 2021 2836: 2834:Grange, p. 47. 2827: 2818: 2792: 2777: 2753: 2738: 2714: 2702: 2693: 2691:, p. 121. 2681: 2672: 2660: 2648: 2636: 2624: 2601: 2589: 2572: 2556: 2544: 2535: 2523: 2514: 2481: 2474: 2454: 2442: 2433: 2421: 2409: 2396: 2389: 2371: 2359: 2350: 2338: 2326: 2301: 2289: 2277: 2251: 2239: 2227: 2215: 2184: 2157: 2131: 2090: 2089: 2087: 2084: 2083: 2082: 2075: 2072: 2071: 2070: 2061: 2058: 2041: 2038: 2023:Finding Rothko 1935:Seagram Murals 1931:Eddie Redmayne 1883: 1880: 1846: 1845: 1790: 1789: 1787: 1784: 1753:Roman Catholic 1741:Philip Johnson 1701:Main article: 1689: 1688: 1686: 1683: 1663:Holyoke Center 1658: 1657:Harvard Murals 1655: 1617:Joseph Kennedy 1600: 1597: 1554:Seagram Murals 1508: 1507: 1486:Seagram murals 1471:Philip Johnson 1461:skyscraper on 1449:Seagram murals 1447:Main article: 1444: 1441: 1436: 1435: 1432: 1429: 1426: 1423: 1420: 1417: 1377:abstractionist 1340: 1337: 1289: 1286: 1281:, and others. 1271:acrylic resins 1250: 1247: 1185: 1182: 1159:Form and Sense 1111:Barnett Newman 1099:Clyfford Still 1068: 1065: 1053:Whitney Museum 1036:(1946) at the 999:Clyfford Still 990:Whitney Museum 984:(1945) at the 974: 971: 874: 871: 865:) and Syrian ( 777: 774: 766:, and Freud's 724: 721: 707: 704: 672: 669: 649:Louis Schanker 623: 620: 595:of 1933–1934. 577:Louis Schanker 569:Barnett Newman 540: 537: 508: 505: 493:Aaron Director 412: 409: 362: 359: 306:Seagram murals 288:. He moved to 213: 212: 209: 208: 195: 189: 188: 185: 184: 181: 177: 176: 171: 167: 166: 157: 153: 152: 149: 148:Known for 145: 144: 139: 135: 134: 131: 127: 126: 123: 121:(aged 66) 115: 111: 110: 101:Russian Empire 95: 82: 80: 76: 75: 54: 46: 45: 42: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6448: 6437: 6434: 6432: 6429: 6427: 6424: 6422: 6419: 6417: 6414: 6412: 6409: 6407: 6404: 6402: 6399: 6397: 6394: 6392: 6389: 6387: 6384: 6382: 6379: 6377: 6374: 6372: 6369: 6367: 6364: 6362: 6359: 6357: 6354: 6352: 6349: 6347: 6344: 6342: 6339: 6337: 6334: 6332: 6329: 6327: 6324: 6322: 6319: 6317: 6314: 6312: 6309: 6307: 6304: 6302: 6299: 6297: 6294: 6292: 6289: 6287: 6286:1970 suicides 6284: 6282: 6279: 6277: 6274: 6272: 6269: 6268: 6266: 6249: 6248: 6243: 6240: 6236: 6232: 6228: 6224: 6223:Arshile Gorky 6220: 6217: 6213: 6210: 6206: 6205: 6203: 6199: 6192: 6188: 6187: 6185: 6181: 6173: 6172:Rothko Chapel 6169: 6168: 6166: 6162: 6155: 6151: 6150: 6148: 6144: 6136: 6135: 6130: 6126: 6125: 6120: 6116: 6115: 6110: 6106: 6105: 6100: 6096: 6095: 6090: 6086: 6085: 6080: 6076: 6075: 6070: 6066: 6065: 6060: 6056: 6055: 6050: 6046: 6045: 6040: 6036: 6035: 6030: 6026: 6025: 6020: 6016: 6015: 6010: 6009: 6007: 6003: 5999: 5992: 5987: 5985: 5980: 5978: 5973: 5972: 5969: 5963: 5960: 5957: 5953: 5950: 5949: 5948: 5947: 5946: 5933: 5930: 5927: 5925: 5922: 5919: 5916: 5913: 5912:The Telegraph 5910: 5907: 5904: 5901: 5898: 5895: 5892: 5891: 5889: 5888: 5887: 5884: 5883: 5882: 5881: 5879: 5868: 5867: 5866:The Telegraph 5863: 5860: 5859: 5854: 5853:Tom Sutcliffe 5850: 5847: 5844: 5843: 5838: 5835: 5832: 5828: 5827: 5823: 5820: 5819: 5815: 5814: 5812: 5811: 5809: 5806: 5805: 5804: 5803: 5801: 5793: 5788: 5785: 5782: 5779: 5776: 5773: 5770: 5766: 5763: 5761: 5757: 5754: 5750: 5745: 5740: 5736: 5732: 5729: 5726: 5723: 5720: 5718: 5715: 5712: 5709: 5706: 5703: 5701: 5697: 5694: 5692: 5689: 5686: 5682: 5679: 5676: 5674: 5670: 5667: 5666: 5661: 5660: 5655: 5652: 5651:ArtCyclopedia 5649: 5647: 5643: 5640: 5637: 5633: 5630: 5627: 5624: 5621: 5618: 5617: 5613: 5606: 5601: 5600: 5595: 5592: 5589:Seldes, Lee. 5588: 5585: 5581: 5579: 5576: 5573: 5571: 5566: 5563: 5560: 5556: 5553: 5549: 5546: 5545: 5540: 5537: 5534: 5530: 5529: 5525: 5519: 5515: 5511: 5505: 5501: 5500: 5494: 5490: 5486: 5482: 5480:0-679-78339-3 5476: 5472: 5471: 5465: 5461: 5455: 5447: 5443: 5439: 5433: 5429: 5428: 5422: 5418: 5414: 5410: 5408:0-226-07405-6 5404: 5400: 5399: 5393: 5389: 5385: 5381: 5375: 5371: 5370: 5364: 5360: 5356: 5352: 5350:0-19-503348-5 5346: 5342: 5341: 5335: 5331: 5327: 5323: 5321:0-300-07489-1 5317: 5313: 5312: 5306: 5305: 5301: 5292: 5286: 5283: 5278: 5272: 5269: 5264: 5260: 5254: 5251: 5246: 5245: 5240: 5233: 5230: 5226: 5222: 5215: 5212: 5208: 5204: 5202: 5193: 5190: 5186: 5182: 5175: 5172: 5159: 5155: 5148: 5145: 5132: 5128: 5127: 5121: 5113: 5110: 5098: 5097: 5092: 5085: 5082: 5070: 5069: 5064: 5057: 5054: 5042: 5038: 5032: 5029: 5017: 5013: 5006: 5003: 4998: 4997: 4992: 4986: 4983: 4971: 4967: 4960: 4957: 4945: 4941: 4934: 4931: 4926: 4925: 4920: 4913: 4910: 4897: 4893: 4892: 4887: 4880: 4877: 4865: 4864: 4859: 4852: 4849: 4837: 4836: 4831: 4824: 4821: 4817: 4805: 4801: 4794: 4791: 4779: 4773: 4770: 4758: 4754: 4748: 4745: 4733: 4729: 4723: 4720: 4716: 4715: 4710: 4706: 4703: 4697: 4694: 4690: 4688: 4675: 4671: 4667: 4661: 4658: 4645: 4641: 4635: 4632: 4620: 4616: 4610: 4607: 4595: 4591: 4590:"Mark Rothko" 4585: 4582: 4569: 4565: 4564: 4558: 4550: 4548: 4546: 4542: 4536: 4533: 4520: 4516: 4515: 4509: 4501: 4499: 4497: 4495: 4493: 4489: 4484: 4483: 4478: 4471: 4468: 4462: 4459: 4453: 4450: 4445: 4441: 4437: 4433: 4429: 4422: 4419: 4414: 4410: 4403: 4396: 4393: 4387: 4384: 4371: 4367: 4363: 4357: 4354: 4342: 4338: 4332: 4329: 4326:, p. 49. 4325: 4320: 4317: 4313: 4308: 4305: 4301: 4296: 4293: 4287: 4284: 4278: 4275: 4263: 4262: 4257: 4250: 4247: 4234: 4227: 4224: 4220: 4215: 4212: 4208: 4203: 4200: 4196: 4191: 4188: 4184: 4179: 4176: 4163: 4157: 4154: 4141: 4135: 4132: 4120: 4116: 4110: 4107: 4103: 4098: 4095: 4089: 4086: 4081: 4075: 4071: 4064: 4061: 4056: 4049: 4046: 4041: 4040: 4035: 4028: 4025: 4021: 4016: 4013: 4009: 4004: 4001: 3995: 3992: 3988: 3983: 3980: 3976: 3970: 3967: 3963: 3958: 3955: 3951: 3946: 3943: 3937: 3934: 3928: 3925: 3921: 3916: 3913: 3909: 3904: 3901: 3897: 3891: 3888: 3884: 3879: 3876: 3872: 3867: 3864: 3860: 3855: 3852: 3848: 3843: 3840: 3828: 3824: 3823:"Mark Rothko" 3817: 3814: 3808: 3803: 3799: 3795: 3792:(7221): 447. 3791: 3787: 3783: 3779: 3773: 3770: 3766: 3761: 3758: 3746: 3740: 3737: 3731: 3728: 3724: 3720: 3719: 3714: 3713:Robert Hughes 3709: 3706: 3702: 3696: 3693: 3688: 3682: 3678: 3673: 3672: 3663: 3660: 3655: 3649: 3645: 3644: 3636: 3633: 3620: 3614: 3611: 3607: 3602: 3599: 3595: 3590: 3588: 3584: 3579: 3572: 3569: 3565: 3560: 3557: 3553: 3549: 3548:Martica Sawin 3545: 3541: 3540:Possibilities 3537: 3536: 3529: 3526: 3522: 3517: 3514: 3509: 3497: 3482: 3476: 3472: 3471: 3463: 3460: 3448: 3444: 3438: 3435: 3431: 3426: 3423: 3411: 3407: 3401: 3398: 3394: 3392: 3386: 3382: 3378: 3372: 3369: 3361: 3360: 3352: 3349: 3336: 3332: 3328: 3324: 3321:Flint, Lucy. 3317: 3314: 3310: 3305: 3301: 3297: 3291: 3289: 3285: 3281: 3276: 3273: 3267: 3264: 3260: 3255: 3252: 3248: 3243: 3240: 3236: 3231: 3228: 3225:Grange, p. 66 3222: 3219: 3215: 3210: 3207: 3204:, p. 41. 3203: 3198: 3195: 3191: 3186: 3183: 3179: 3174: 3171: 3168:, p. 34. 3167: 3162: 3159: 3154: 3150: 3146: 3139: 3136: 3124: 3123:The Art Story 3120: 3114: 3111: 3099: 3095: 3089: 3086: 3080: 3077: 3073: 3068: 3065: 3053: 3049: 3043: 3040: 3036: 3031: 3028: 3024: 3019: 3016: 3004: 3000: 2994: 2991: 2987: 2982: 2979: 2967: 2963: 2961: 2960:Possibilities 2957: 2956:Possibilities 2949: 2946: 2934: 2933:metmuseum.org 2930: 2924: 2921: 2909: 2905: 2899: 2896: 2890: 2887: 2883: 2878: 2875: 2871: 2866: 2863: 2850: 2846: 2840: 2837: 2831: 2828: 2822: 2819: 2807: 2803: 2796: 2793: 2788: 2784: 2780: 2778:9780300114409 2774: 2770: 2766: 2765: 2757: 2754: 2749: 2745: 2741: 2739:9780300114409 2735: 2731: 2727: 2726: 2718: 2715: 2711: 2706: 2703: 2697: 2694: 2690: 2685: 2682: 2676: 2673: 2669: 2664: 2661: 2657: 2652: 2649: 2646:, p. 87. 2645: 2640: 2637: 2633: 2628: 2625: 2612: 2605: 2602: 2599:, p. 26. 2598: 2593: 2590: 2586: 2582: 2576: 2573: 2569: 2565: 2560: 2557: 2554:, p. 81. 2553: 2548: 2545: 2539: 2536: 2533:, p. 91. 2532: 2527: 2524: 2518: 2515: 2502: 2498: 2494: 2488: 2486: 2482: 2477: 2471: 2467: 2466: 2458: 2455: 2452:, p. 69. 2451: 2446: 2443: 2437: 2434: 2430: 2425: 2422: 2419:, p. 11. 2418: 2413: 2410: 2406: 2400: 2397: 2392: 2390:9781783619993 2386: 2382: 2375: 2372: 2368: 2363: 2360: 2354: 2351: 2348:, p. 10. 2347: 2342: 2339: 2335: 2330: 2327: 2315: 2311: 2305: 2302: 2298: 2293: 2290: 2286: 2281: 2278: 2266: 2262: 2255: 2252: 2249:, p. 14. 2248: 2243: 2240: 2236: 2231: 2228: 2224: 2219: 2216: 2204: 2200: 2193: 2191: 2189: 2185: 2172: 2168: 2161: 2158: 2150:September 11, 2145: 2141: 2135: 2132: 2119: 2115: 2114: 2109: 2102: 2100: 2098: 2096: 2092: 2085: 2081: 2078: 2077: 2073: 2068: 2064: 2063: 2059: 2057: 2054: 2052: 2051:nominal value 2047: 2040:Resale market 2039: 2037: 2035: 2034: 2029: 2025: 2024: 2019: 2015: 2010: 2008: 2004: 2000: 1996: 1992: 1988: 1983: 1981: 1977: 1976:Daugava River 1973: 1968: 1966: 1962: 1958: 1957: 1952: 1948: 1944: 1940: 1936: 1932: 1928: 1927:Alfred Molina 1924: 1920: 1916: 1915: 1910: 1908: 1903: 1901: 1897: 1892: 1890: 1881: 1879: 1876: 1874: 1870: 1866: 1855: 1850: 1844: 1842: 1837: 1833: 1827: 1825: 1821: 1816: 1814: 1810: 1800: 1799: 1794: 1785: 1783: 1779: 1775: 1773: 1768: 1764: 1762: 1758: 1754: 1748: 1746: 1742: 1732: 1728: 1726: 1722: 1718: 1714: 1710: 1704: 1703:Rothko Chapel 1693: 1685:Rothko Chapel 1684: 1682: 1680: 1676: 1672: 1668: 1664: 1656: 1654: 1652: 1647: 1645: 1640: 1638: 1634: 1630: 1626: 1622: 1618: 1614: 1610: 1606: 1598: 1596: 1594: 1593:Will Gompertz 1590: 1586: 1585: 1579: 1577: 1576: 1572:'s 2009 play 1571: 1567: 1563: 1559: 1555: 1549: 1545: 1543: 1542:William Scott 1539: 1535: 1531: 1520: 1512: 1506: 1504: 1503: 1498: 1497: 1490: 1487: 1482: 1480: 1476: 1472: 1468: 1464: 1460: 1456: 1450: 1442: 1439: 1433: 1430: 1427: 1424: 1421: 1418: 1415: 1414: 1413: 1409: 1407: 1402: 1400: 1395: 1392: 1385: 1380: 1378: 1372: 1368: 1364: 1362: 1358: 1354: 1350: 1346: 1338: 1336: 1332: 1329: 1328: 1323: 1319: 1315: 1311: 1310:Betty Parsons 1306: 1304: 1300: 1296: 1287: 1285: 1282: 1280: 1276: 1272: 1268: 1264: 1259: 1255: 1248: 1246: 1242: 1240: 1239:Rothko Chapel 1235: 1229: 1224: 1219: 1214: 1210: 1208: 1202: 1200: 1196: 1192: 1191:Betty Parsons 1183: 1181: 1179: 1175: 1174:Henri Matisse 1171: 1170:Betty Parsons 1166: 1162: 1160: 1156: 1152: 1148: 1144: 1143:Possibilities 1140: 1134: 1132: 1128: 1124: 1120: 1116: 1112: 1108: 1104: 1100: 1095: 1093: 1089: 1081: 1077: 1073: 1066: 1064: 1062: 1058: 1054: 1049: 1047: 1039: 1035: 1031: 1027: 1025: 1021: 1015: 1010: 1008: 1004: 1000: 991: 987: 983: 979: 972: 970: 968: 964: 960: 956: 951: 948: 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Retrieved 2113:The Guardian 2111: 2066: 2060:Bibliography 2055: 2043: 2031: 2021: 2011: 2006: 1998: 1984: 1969: 1965:Alfred Enoch 1954: 1949:, including 1938: 1917:, a play by 1912: 1911: 1906: 1904: 1895: 1893: 1889:Pace Gallery 1885: 1877: 1861: 1828: 1824:Tate Gallery 1820:barbiturates 1817: 1806: 1796: 1780: 1776: 1772:transcendent 1769: 1765: 1749: 1737: 1706: 1667:Nathan Pusey 1660: 1648: 1644:Jasper Johns 1641: 1633:Lichtenstein 1602: 1582: 1580: 1573: 1558:Tate Britain 1553: 1550: 1546: 1530:Michelangelo 1527: 1500: 1496:Independence 1495: 1491: 1483: 1479:Simon Schama 1452: 1437: 1411: 1403: 1396: 1387: 1382: 1374: 1370: 1365: 1357:Sidney Janis 1344: 1342: 1333: 1325: 1307: 1299:Fra Angelico 1291: 1283: 1260: 1256: 1252: 1243: 1231: 1226: 1221: 1216: 1211: 1206: 1203: 1199:East Hampton 1187: 1177: 1167: 1163: 1158: 1142: 1138: 1135: 1131:Ad Reinhardt 1096: 1091: 1087: 1085: 1075: 1067:"Multiforms" 1060: 1056: 1050: 1045: 1043: 1033: 1023: 1019: 1017: 1012: 995: 981: 952: 946: 940: 934: 895: 887:abstract art 876: 866: 859: 852: 846: 842: 835: 829: 823: 816: 810: 804: 798: 792: 785: 779: 767: 761: 743: 726: 717:antisemitism 709: 701: 694: 683: 674: 661: 641:Louis Harris 625: 597: 592: 585:Milton Avery 562: 558: 542: 510: 507:Early career 496: 490: 486: 474: 458:Emma Goldman 451:Bill Haywood 448: 433: 429:colon cancer 421:Ellis Island 414: 386: 370: 364: 352: 350: 318:Tate Gallery 303: 294:World War II 282:Ellis Island 271: 250: 217: 216: 119:(1970-02-25) 55: 36: 6281:1970 deaths 6276:1903 births 6271:Mark Rothko 6250:(2009 play) 6239:Rothko case 6216:Color field 5998:Mark Rothko 5829:, a second 5800:Tate Modern 5794:Exhibitions 5722:Mark Rothko 5696:Mark Rothko 5642:Mark Rothko 5565:Logan, John 5372:. Taschen. 5164:October 23, 5158:vulture.com 4783:November 8, 4563:Artnet News 4312:Ashton 1983 4300:Ashton 1983 4168:February 9, 4146:October 27, 4020:Ashton 1983 3962:Ashton 1983 3871:Ashton 1983 3723:Dore Ashton 3671:Mark Rothko 3606:Ashton 1983 3504:|work= 3359:Mark Rothko 3323:"Sacrifice" 3247:Ashton 1983 3202:Ashton 1983 3166:Ashton 1983 3103:February 6, 3072:Ashton 1983 3057:February 6, 3052:www.nga.gov 3023:Ashton 1983 3008:February 5, 2971:February 5, 2679:Ashton, 35. 2668:Ashton 1983 2597:Ashton 1983 2450:Ashton 1983 2417:Ashton 1983 2346:Ashton 1983 2319:February 5, 2235:Ashton 1983 2208:October 22, 2177:January 13, 2046:the highest 2033:Color Field 2026:(2006) and 2009:(1969–70). 1989:and by the 1947:Tony Awards 1869:Rothko Case 1856:, New York. 1854:East Marion 1841:warm colors 1832:David Anfam 1813:Dore Ashton 1761:Crucifixion 1463:Park Avenue 1399:Dore Ashton 1361:Franz Kline 1277:, modified 1267:ultraviolet 1184:Late period 1151:contingency 1139:Tiger's Eye 967:Thomas Mann 963:James Joyce 959:T. S. Eliot 581:John Graham 259:color field 218:Mark Rothko 164:color field 130:Nationality 63: 1949 43:Mark Rothko 6265:Categories 5880:exhibition 5802:exhibition 5388:1235697992 5041:Christie's 4949:August 18, 4762:August 18, 4737:August 18, 3327:Guggenheim 3149:On My Wall 2849:hekint.org 2787:1008510353 2748:1008510353 2086:References 2028:Anna Clyne 1972:Daugavpils 1941:opened on 1919:John Logan 1721:Cy Twombly 1679:lithol red 1675:Guggenheim 1637:Rosenquist 1570:John Logan 1564:, and the 1560:, Japan's 1178:Red Studio 1115:David Hare 918:Surrealism 879:Surrealism 843:Gethsemane 831:The Furies 678:aquarelles 616:Depression 612:aquarelles 481:autodidact 462:Surrealism 367:Daugavpils 344:chapel in 330:lithol red 298:Surrealism 274:Daugavpils 106:Daugavpils 89:1903-09-25 6233:(teacher) 6231:Max Weber 6164:Buildings 6005:Paintings 5890:Reviews: 5826:The Times 5818:The Times 5675:slideshow 5518:135513094 5454:cite book 5446:945949663 5330:231779179 4810:March 18, 4624:March 20, 4599:March 20, 3778:Qiu, Jane 3506:ignored ( 3496:cite book 3296:Sacrifice 3128:March 24, 2913:March 24, 2811:March 20, 2270:March 24, 2265:Sotheby's 2124:March 17, 1951:Best Play 1757:Byzantine 1391:de Menils 1249:Technique 1127:John Cage 1046:Sacrifice 1034:Sacrifice 955:Carl Jung 853:Rites of 836:Altar of 819:Iphigenia 795:Aeschylus 754:Carl Jung 746:mythology 730:Romantics 691:Aeschylus 655:to form " 550:Paul Klee 533:Modernism 529:Max Weber 501:bourgeois 455:anarchist 361:Childhood 348:, Texas. 263:painterly 193:Patron(s) 170:Spouse(s) 108:, Latvia) 6044:Untitled 5765:Archived 5749:Archived 5731:Archived 5673:Guardian 5632:Archived 5548:Archived 5489:44883577 5417:27811705 5131:Archived 5096:CNN News 4996:BBC News 4902:March 2, 4896:Archived 4705:Archived 4680:July 24, 4568:Archived 4519:Archived 4376:July 13, 4366:Tate Etc 4346:June 27, 4267:July 24, 4239:July 24, 4124:July 13, 4119:Tate Etc 3625:July 13, 3387:. 2023. 3335:Archived 3306:. 2023. 3098:Tate Etc 2938:June 28, 2855:June 28, 2617:July 13, 2507:June 18, 2118:Archived 2074:See also 2036:(2020). 1999:Untitled 1943:Broadway 1671:Triptych 1295:frescoes 1123:Jean Arp 1092:Untitled 930:Mondrian 922:Gottlieb 860:Room in 806:Antigone 800:Oresteia 737:and the 706:Maturity 633:Ben-Zion 453:and the 334:restored 272:Born in 255:abstract 180:Children 156:Movement 151:Painting 133:American 6201:Related 6183:Museums 5932:article 5924:article 5921:Timeout 5698:at the 5644:at the 5359:9219133 5302:Sources 5021:June 4, 4975:June 4, 4891:ARTnews 4869:July 1, 4841:July 1, 3832:June 4, 3794:Bibcode 3750:June 6, 3486:June 7, 3452:June 7, 3415:June 4, 2908:Haaretz 2171:Veranda 2003:Al Held 1801:(1970). 1717:Houston 1625:pop art 1345:Fortune 1327:Fortune 1082:in 2023 1040:in 2023 992:in 1946 838:Orpheus 812:Oedipus 735:Fascism 687:tragedy 657:The Ten 393:Litvish 389:Yiddish 382:Marxist 346:Houston 322:Harvard 312:in the 6174:(1971) 6137:(1970) 6127:(1961) 6117:(1958) 6114:No. 10 6107:(1958) 6097:(1958) 6087:(1957) 6077:(1954) 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