Untitled (figure with a racket), Mark Rothko, 1938/1939
Mark Rothko, portretMark RothkoVerenigde Staten, 1903–1970

Untitled (figure with a racket)

1938/1939 · Painting

Mag men het zien?

Ontvangt momenteel niet

National Gallery of Art

Washington D.C., Verenigde Staten

Het hoort bij de collectie, maar is momenteel niet tentoongesteld.

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Ongewijzigd sinds
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Het museum

Gegevens

Inventarisnummer
1986.56.654

Wat het toont

In de catalogus

Bronnen

Intussen, in het leven van Mark Rothko

Het hele leven
  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. 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”.

  3. 1936

    A group show at the Galerie Bonaparte

    In 1936 Rothko’s group exhibited at the Galerie Bonaparte in France and drew favourable notice; one reviewer remarked that his paintings “display authentic coloristic values”.

  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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