Untitled [Stage Set with Figures]

1937/1939 · Drawing

Peut-on la contempler ?

Elle ne reçoit pas en ce moment

National Gallery of Art

Washington, États-Unis

Elle appartient à la collection, mais n’est pas présentée en ce moment.

Vérifié: il y a 10 jours
Dans cet état depuis: 19 août 2026
Source: Le musée

Sur la carte Page du musée

Notice

Numéro d’inventaire: 1986.56.624

Ce qu’elle montre

Figure Bâtiment

Au catalogue

Dessins et aquarelles Aquarelle Modernisme XXe siècle American

Sources

National Gallery of Art
Image : National Gallery of Art — © the artist or rights holder

Pendant ce temps, chez Mark Rothko

La vie entière

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.
late 1935
Joins “The Ten”
In late 1935 Rothko joined Ilya Bolotowsky, Ben-Zion, Adolph Gottlieb, Louis Harris, Ralph Rosenborg, Louis Schanker and Joseph Solman to form “The Ten”, whose stated aim was to protest against the supposed equivalence of American painting and literal painting.
1936
An unfinished book on children’s art
In 1936 Rothko began a book, never completed, on the similarities between children’s art and the work of modern painters; in the manuscript he noted that starting with drawing is an academic notion and that “we may start with color”.
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.
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.
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.