MR
Mark Rothko
71quotes
Full Name and Common Aliases
Mark Rothko was born Markus Yakovlevich Rozdolsky on September 25, 1903, in Dvinsk, Russian Empire (now Daugavpils, Latvia). He is commonly known as Mark Rothko.
Birth and Death Dates
September 25, 1903 – February 25, 1970
Nationality and Profession(s)
American artist of Jewish descent, primarily associated with the abstract expressionist movement. Rothko's work also encompasses elements of color field painting, action painting, and lyrical abstraction.
Early Life and Background
Markus Rozdolsky was born to a family of Russian Jews in Dvinsk, which is now part of Latvia. His father, Yakov Rozdolsky, was a successful businessman who owned a fabric store. Rothko's early life was marked by instability; his family moved frequently due to his father's business ventures and the turmoil of World War I. In 1913, Markus began attending secondary school in Dvinsk but dropped out at 16 to immigrate to the United States with his brother.
Early Career
Rothko settled in New York City, where he initially struggled to make a living as an artist. He worked odd jobs and studied art through the night classes offered by the Art Students League of New York. His early work was influenced by modernist movements such as Futurism and Expressionism.
Major Accomplishments
- Developed the concept of color field painting, which emphasized large, rectangular fields of color that evoke emotions rather than depict specific subjects.
- Created iconic works like "No. 61 (Rust and Blue)" (1953) and "Four Darks in a Painting" (1958), which exemplify his later style characterized by abstracted rectangles and nuanced color relationships.
- Exhibited at the Museum of Modern Art in New York, the Guggenheim Museum, and other prominent institutions.
Notable Works or Actions
Some notable works include:
- "No. 61 (Rust and Blue)" (1953), a quintessential example of Rothko's later style featuring large rectangles with subtle color gradations.
- "Four Darks in a Painting" (1958), an earlier work showcasing Rothko's experimentation with rectangular forms and atmospheric colors.
Impact and Legacy
Mark Rothko's innovative use of color has had a lasting impact on modern and contemporary art. His contributions to abstract expressionism helped shift the focus from representational art to non-representational, expressive works that engage viewers emotionally rather than intellectually.
Rothko's work also explores themes of existentialism, spirituality, and the human experience, adding depth to his artistic legacy.
Why They Are Widely Quoted or Remembered
Mark Rothko is widely quoted for his insightful statements on art, which reveal a profound understanding of color, emotion, and the viewer's relationship with the artwork. Quotes like "A painting has got to move you, among other things, it's got to make your soul feel something" highlight Rothko's emphasis on the emotive power of abstract art.
Rothko's thought-provoking statements have cemented his place as a visionary artist and thinker in modern art history.
Quotes by Mark Rothko
Mark Rothko's insights on:
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If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.
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We thus see the artist performing a dual function: first, furthering the integrity of the process of self-expression in the language of art; and secondly, protecting the organic continuity of art in relation to its own laws. For like any organic substance, art must always be in a state of flux, the tempo being slow or fast. But it must move.
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If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions – tragedy, ecstasy, doom.
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It is really a matter of ending this silence and solitude, of breathing and stretching one’s arms again.
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A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer.
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You think my paintings are calm, like windows in some cathedral? You should look again. I’m the most violent of all the American painters. Behind those colours there hides the final cataclysm.
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Look, it’s my misery that I have to paint this kind of painting, it’s your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.
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I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.
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