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首页地图目录
  1. 藏品/
  2. 現代藝術博物館/
  3. No. 5/No. 22
No. 5/No.  22, Mark Rothko, 1950 (dated on reverse 1949)
Mark Rothko肖像Mark Rothko美国, 1903–1970

No. 5/No. 22

1950 (dated on reverse 1949) · Painting

可否一睹真容?

可以,正在迎客

現代藝術博物館

纽约, 美國

展厅MoMA, Floor 4, 403

正对公众展出。由谁担保,见下文。

核实
9天前
出处
博物馆
在地图上看博物馆页面

作品信息

1950 (dated on reverse 1949)
19031970
馆藏编号
1108.1969

与此同时,在Mark Rothko的生活中

完整生平
  1. 3 – 22 March 1947

    A first solo show with Betty Parsons

    Rothko’s first solo exhibition at the Betty Parsons Gallery ran from 3 to 22 March 1947; he showed there again in 1950 and 1951.

  2. October 1948

    Rothko’s mother dies

    Rothko’s mother, Kate, died in October 1948; the discovery of his definitive form came at a period of great distress.

  3. 1948–1949

    The “Subjects of the Artist” school

    In 1948 Rothko, Robert Motherwell, William Baziotes, Barnett Newman and David Hare founded the Subjects of the Artist school at 35 East 8th Street, with public lectures by Jean Arp, John Cage and Ad Reinhardt; it failed financially and closed in the spring of 1949. Besides teaching, Rothko began writing for the new magazines Tiger’s Eye and Possibilities.

  4. early 1949

    New paintings at Parsons: a “revelation”

    After painting his first multiform Rothko shut himself away at his house in East Hampton and invited only a select few, among them the critic Harold Rosenberg, to see the new paintings. In early 1949 he showed them at the Betty Parsons Gallery, where Rosenberg found them nothing short of a revelation.

  5. 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.

Mark Rothko的更多作品

全部作品

同一展厅 · MoMA, Floor 4, 403, 現代藝術博物館

博物馆页面
  • 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.

  • 已收入目录

    绘画油画美国绘画战后艺术20 世纪

    出处

    • 現代藝術博物館
    • 图片: 現代藝術博物館 — © the artist or rights holder
    Untitled (three women and a child with mannequins), Mark Rothko, 1936/1937

    Untitled (three women and a child with mannequins)

    1936/1937 · 国家美术馆

    Untitled (two women at the window), Mark Rothko, c. 1937

    Untitled (two women at the window)

    c. 1937 · 国家美术馆

    Untitled (nude), Mark Rothko, 1937/1938

    Untitled (nude)

    1937/1938 · 国家美术馆

    Thru the Window, Mark Rothko, 1938/1939

    Thru the Window

    1938/1939 · 国家美术馆

    Untitled, Mark Rothko, 1940/1941

    Untitled

    1940/1941 · 国家美术馆

    Underground Fantasy, Mark Rothko, c. 1940

    Underground Fantasy

    c. 1940 · 国家美术馆

    Untitled, Mark Rothko, 1941/1942

    Untitled

    1941/1942 · 国家美术馆

    Slow Swirl at the Edge of the Sea, Mark Rothko, 1944

    Slow Swirl at the Edge of the Sea

    1944 · 現代藝術博物館

    Untitled, Mark Rothko, 1969-70

    Mark Rothko

    Untitled, 1969-70

    No. 37/No. 19 (Slate Blue and Brown on Plum), Mark Rothko, 1958

    Mark Rothko

    No. 37/No. 19 (Slate Blue and Brown on Plum), 1958

    No. 10, Mark Rothko, 1950

    Mark Rothko

    No. 10, 1950

    No. 5/No. 24, Mark Rothko, 1948

    Mark Rothko

    No. 5/No. 24, 1948

    No. 1 (Untitled), Mark Rothko, 1948

    Mark Rothko

    No. 1 (Untitled), 1948