Mark RothkoΗνωμένες Πολιτείες Αμερικής, 1903–1970Untitled
Μπορώ να το δω;
Δεν εκτίθεται αυτή την περίοδο
Πού βρίσκεται τώρα το έργο «Untitled»; Συλλογή: Εθνική Πινακοθήκη της Ουάσιγκτον, Ουάσινγκτον. Δεν εκτίθεται αυτή την περίοδο. Ελέγχθηκε 9 Νοεμβρίου 2026.
Ουάσινγκτον, Ηνωμένες Πολιτείες Αμερικής
Ανήκει στη συλλογή, αλλά δεν εκτίθεται αυτή την περίοδο.
- Ελέγχθηκε
- Σε αυτή την κατάσταση από
- Πηγή
- Το μουσείο
Στοιχεία
- Αριθμός καταλόγου
- 1986.43.160
Τι απεικονίζει
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 ζωή1949–1956
Large vertical canvases: being “inside” the picture
For seven years Rothko painted in oil only on large vertical canvases so that the viewer would feel “enveloped within” the painting. Critics saw this as compensating for a lack of substance; he replied that he painted large because he wanted to be intimate, and advised viewers to stand as close as eighteen inches away.
1950s
The poet Stanley Kunitz
The critic Dore Ashton saw Rothko’s acquaintance with the poet Stanley Kunitz as a significant bond of these years, their conversations feeding Rothko’s enterprise; Kunitz saw him as a primitive and a shaman who finds the magic formula.
1954
A Chicago show and a meeting with Sidney Janis
At a solo show at the Art Institute of Chicago in 1954 Rothko met the dealer Sidney Janis, who represented Pollock and Franz Kline; the relationship proved mutually beneficial.
1955
Branded a “sell-out”: the quarrel with Newman and Still
When Fortune magazine named a Rothko painting a good investment in 1955, Newman and Clyfford Still branded him a sell-out with bourgeois aspirations. Still asked for the paintings he had given Rothko over the years to be returned, and Rothko was deeply depressed by his former friends’ jealousy.
November 1958
The Pratt Institute talk: a “recipe” for a painting
In November 1958 Rothko spoke at the Pratt Institute, unusually treating art as a trade and listing the ingredients of a painting: a preoccupation with death, sensuality, tension, irony, wit and play, the ephemeral, and ten per cent hope to make the tragic more endurable.
![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)
