Untitled (man with racket and ball), Mark Rothko, 1939
Mark Rothko, portraitMark RothkoAmerican, 1903–1970

Untitled (man with racket and ball)

1939 · Painting

May one see it?

Not receiving at present

National Gallery of Art

Washington, D.C., United States

It belongs to the collection, but is not on display at present.

Checked
In this state since
Source
The museum

Particulars

Accession number
1986.56.658

What it shows

In the catalog

Sources

Meanwhile, in the life of Mark Rothko

The whole life
  1. 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.

  2. mid-1937

    A rift with Edith

    In mid-1937 Rothko separated temporarily from his wife Edith; they reconciled several months later, but the relationship stayed tense and they would divorce in 1944.

  3. 1938

    The Mercury Gallery show: a protest against the Whitney

    In 1938 the group held a show at the Mercury Gallery in New York as a protest against the Whitney Museum, which it regarded as having a provincial, regionalist agenda. In these years Rothko, like Avery, Gorky, Pollock and de Kooning, found work with the Works Progress Administration.

  4. 21 February 1938

    Becomes a US citizen

    On 21 February 1938 Rothko received American citizenship, relieved: he had feared that the growing influence of the Nazis in Europe might lead to the sudden deportation of Jews without citizenship.

  5. 1940

    Shortens his name to Mark Rothko

    Concerned about rising antisemitism in Europe and America, Rothko shortened “Markus Rothkowitz” to “Mark Rothko” in 1940; “Roth” still sounded identifiably Jewish, so he settled on “Rothko”. All his works have been signed with that name since.

  6. 1940

    A pause in painting for the study of myth

    In 1940, it is said, Rothko stopped painting altogether to immerse himself in James Frazer’s The Golden Bough and Freud’s The Interpretation of Dreams; he later said his approach had been “reformed” by the study of the dramatic themes of myth.

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