Mark RothkoSpojené státy americké, 1903–1970No. 5
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Kde je teď „No. 5“? Sbírka: Národní galerie ve Washingtonu, Washington, D.C. Momentálně není vystaveno. Ověřeno 2. listopadu 2026.
Washington, D.C., Spojené státy americké
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O obrazu
No. 5 is Mark Rothko's 1964 painting in Washington's National Gallery of Art. The canvas stands a little over two metres tall and is almost as wide; Rothko combined acrylic and oil with other materials. In 1996–1997 it appeared in the Menil Collection's Houston exhibition on the chapel commission. A later showing, in Munich in 2006–2007, placed it in an exhibition devoted to black paintings.
Podrobnosti
- Inventární číslo
- 1986.43.133
Co zobrazuje
V katalogu
Zdroje
- Národní galerie ve Washingtonu
- Obrázek: Národní galerie ve Washingtonu — © the artist or rights holder
V životě: Mark Rothko
Celý životopis1962
Pop art: “Are the young artists plotting to kill us all?”
At a 1962 exhibition of pop art Rothko called the pop artists “charlatans and young opportunists” and wondered aloud whether the young artists were plotting to kill them all; looking at Jasper Johns’s flags he remarked that they had worked for years to get rid of all that.
1963
Son born: Christopher Rothko
autumn 1963
A contract with the Marlborough Gallery
In the autumn of 1963 Rothko signed with the Marlborough Gallery for sales of his work outside the United States; in New York he went on selling directly from his studio.
1964–1970
The Rothko Chapel: six years of work
The chapel for the oil millionaires John and Dominique de Menil in Houston was originally meant to be Roman Catholic, and for the first three years, until 1967, Rothko believed it would remain so; he took a close interest in its layout and insisted on a central cupola. Because of his health he hired two assistants to apply the layers of paint; on half of the works he applied none himself, calling the completion of the paintings “torment”.
1964–1970
The last studio on East 69th Street
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 it with pulleys carrying large walls of canvas material to regulate light from a central cupola.
![Ginevra de' Benci [obverse], Leonardo da Vinci, c. 1474/1478](https://api.nga.gov/iiif/8f29e3c9-a289-4d53-abf0-31a66e9e98fa/full/!2400,2400/0/default.jpg)
![Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forma Decorat [reverse], Leonardo da Vinci, c. 1474/1478](https://api.nga.gov/iiif/ff62e8d0-45c4-498f-ad36-6358de827e04/full/!2400,2400/0/default.jpg)
