Untitled

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.

1949–1956

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.

early 1950

Five months in Europe

In early 1950 Rothko and his wife spent five months in Europe; he did not go back to his homeland but visited the great museums of England, France and Italy, and was most impressed by Fra Angelico’s frescoes in San Marco in Florence. Mell became pregnant during the trip, and on 30 December, back in New York, their daughter Kate was born, named after Rothko’s mother.

1950

The “Irascibles” photograph: a protest against the Met

In 1950 a conservative jury rejected paintings by the radical group to which Rothko belonged for a major exhibition of modern art at the Metropolitan Museum. In reply the artists posed for a group photograph of the “Irascibles”, all stern-faced, with Rothko especially angry.

1952

“Fifteen Americans” and a quarrel with Newman

Dorothy Canning Miller’s Fifteen Americans at MoMA formally heralded the abstract artists, but it also set Rothko against Barnett Newman, who accused him of trying to exclude him from the show.

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.