Mark Rothko미국, 1903–1970Untitled
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〈Untitled〉는 지금 어디에 있나요? 소장처: 내셔널 갤러리 오브 아트, 워싱턴 D.C. 현재 전시하지 않습니다. 확인일 2026년 11월 9일.
워싱턴 D.C., 미국
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- 1992.51.13
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- 내셔널 갤러리 오브 아트
- 이미지: 내셔널 갤러리 오브 아트 — © the artist or rights holder
Mark Rothko의 생애 속 이 작품
생애 전체 보기1949–1956
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.
![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)
