
Mark RothkoΗνωμένες Πολιτείες Αμερικής, 1903–1970Conversation
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Πού βρίσκεται τώρα το έργο «Conversation»; Συλλογή: Εθνική Πινακοθήκη της Ουάσιγκτον, Ουάσινγκτον. Δεν εκτίθεται αυτή την περίοδο. Ελέγχθηκε 2 Νοεμβρίου 2026.
Ουάσινγκτον, Ηνωμένες Πολιτείες Αμερικής
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Για τον πίνακα
Conversation dates from about 1932, when Mark Rothko painted this small scene on linen; it is now in the National Gallery of Art, Washington. The painted area is only 27.9 by 25.4 centimetres, within a slightly larger support. At the lower right is the signature M. Rothkowitz. The painting appeared in Rothko's exhibition at New York's Contemporary Arts Gallery in 1933.
Στοιχεία
- Αριθμός καταλόγου
- 1986.56.652
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Στον κατάλογο
Πηγές
- Εθνική Πινακοθήκη της Ουάσιγκτον
- Εικόνα: Εθνική Πινακοθήκη της Ουάσιγκτον — © the artist or rights holder
Στη ζωή του καλλιτέχνη: Mark Rothko
Όλη η ζωή1929–1952
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.
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.
1932
Edith Sachar: meeting and marriage
At Lake George in 1932 Rothko met the jewelry designer Edith Sachar, whom he married later that year.
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.
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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