Women Talking, Mark Rothko, 1929/1932
Mark Rothko, portrætMark RothkoUSA, 1903–1970

Women Talking

1929/1932 · Painting

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Hvor er »Women Talking« i dag? Samling: National Gallery of Art, Washington, D.C. Ikke udstillet lige nu. Kontrolleret 29. september 2026.

National Gallery of Art

Washington, D.C., USA

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Inventarnummer
1986.56.651

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Imens i livet hos Mark Rothko

Hele livet
  1. 1928

    First group show at the Opportunity Gallery

    In 1928 Rothko and a group of young artists showed their work for the first time at the Opportunity Gallery: dark, moody expressionist interiors and urban scenes that critics and fellow artists received well.

  2. 1929–1952

    Teaching children at the Brooklyn Jewish Center

    From 1929 Rothko taught drawing, painting and clay sculpture part-time to schoolchildren at the Center Academy of the Brooklyn Jewish Center, where he remained until 1952.

  3. early 1930s

    Milton Avery and Adolph Gottlieb

    In the early 1930s Rothko met Adolph Gottlieb and the circle around Milton Avery, including Barnett Newman, Joseph Solman, Louis Schanker and John Graham. According to Elaine de Kooning it was Avery who convinced Rothko that a professional artist’s life was possible; the friends vacationed together at Lake George and Gloucester, painting by day and talking about art in the evenings.

  4. 1932

    Edith Sachar: meeting and marriage

    At Lake George in 1932 Rothko met the jewelry designer Edith Sachar, whom he married later that year.

  5. summer 1933

    First solo show at the Portland Art Museum

    In the summer of 1933 the Portland Art Museum held Rothko’s first one-person show, mostly drawings and watercolours. In a very unusual step he hung works by his young pupils from the Center Academy alongside his own.

  6. 21 November – 9 December 1933

    First solo show in New York

    At the Contemporary Arts Gallery Rothko showed fifteen oil paintings, mostly portraits, along with watercolours and drawings. The oils especially caught the critics’ eye: his fields of colour had already moved beyond Avery’s influence.

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