MARK ROTHKO THE DECISIVE DECADE

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1 MARK ROTHKO THE DECISIVE DECADE حءءخء ءةضءء سخةججد.ز ءزدءءءز ز ذدد عززءب خةء بشصز دثبشدز ز بذدشسةزب

2 The Decisive Decade BRADFORD R. COLLINS, EDITOR DAVID ANFAM HARRY COOPER RUTh FINE ChRISTOPhER ROThKO XXXXXX XXXXXX XXXXXXXXX XXXXXXXX XXXXXXXX XXXXXXXXXXXXXXX XXX XX 2 The Decisive Decade chapter 3 Rothko 2nd pages for color.indd 2-3 3/2/12 5:20 PM

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4 Beyond Pessimism: Rothko s NietzscheaN Quest, BRADFORD R. COLLINS It was many years ago that I encountered... The Birth of Tragedy of Nietzsche. It left an indelible impression on my mind and has forever colored the syntax of my own reflections on the questions of art. 1 There is the danger that in the course of this correspondence an instrument will be created which will tell the public how the pictures should be looked at and what to look for. While on the surface this may seem an obliging and helpful thing to do, the real result is the paralysis of the mind and the imagination. (And for the artist a premature entombment.) Hence my abhorrence for forewords and explanatory data. And if I must place my trust somewhere, I would invest it in the psyche of the sensitive observers who are free of the conventions of understanding. 2 would not have approved of the explanatory guide to his paintings of the 1940s that you are about to read. Throughout his career Rothko regularly insisted that no such explanations were necessary, that his works clearly communicated with the sensitive observer. In most of these instances, however, his assertion was in response to evidence to the contrary, to someone who badly misunderstood what he believed he was communicating. During the last 46 The Decisive Decade chapter 47 Rothko 2nd pages for color.indd /2/12 5:21 PM

5 cat 36. Milton Avery ( ) Girl with Cello, 1958 oil on board, 23 3/4 x 19 5/8 inches Gift of Robert Y. Turner Columbia Museum of Art, Columbia, South Carolina 2012 Milton Avery Trust / Artists Rights Society (ARS), New York Image courtesy of the Columbia Museum of Art cat 1. Untitled (man and two women in a pastoral setting), c oil and graphite on canvas, 28 ½ x 36 inches Washington, Gift of The Foundation, Inc., Kate Rothko Society (ARS), New York Image Courtesy Washington. 28 The Decisive Decade chapter 29 Rothko 2nd pages for color.indd /2/12 5:20 PM

6 cat 11. Personage Two, 1946 oil on canvas, 56 x 32 ¼ inches Washington, Gift of The Foundation, Inc., Kate Rothko Society (ARS), New York Image Courtesy Washington. cat 12. Aquatic Drama, 1946 oil on canvas, 36 x 48 inches Washington, Gift of The Foundation, Inc., Kate Rothko Society (ARS), New York Image Courtesy Washington. 92 The Decisive Decade chapter 93 Rothko 2nd pages for color.indd /2/12 5:21 PM

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8 applied to the sheet, and how much pressure the paintings on paper from these years, which tend to artist exerted when placing the marks. Worked in employ multiple media although transparent water- both vertical and horizontal formats, the earliest of color is primary among the layered hues. Opaque these mid-decade sheets offer suggestions of totemic watercolor touches follow sparingly, and thus func- images and underwater plant life, usually superim- tion as focal points within the fields, setting up posed upon layered horizontal bands that by the a rich contrast to Rothko s magical line, directly end of the 1940s evolved as Rothko s major compo- drawn at first in both black and color inks, but sitional form, uninterrupted by linear incident or incised as scraffito increasingly as the ideas evolve, mimetic shapes. Biomorphic forms with figurative functioning with authority as rhythm, pattern, edge, properties (as in Untitled, c. 1945, cat. 27) gave way direction, interruption. The ambition of these mid- to swirling calligraphic totems and suggestions of decade watercolors expanded his approach to layer- underwater life (such as Untitled, 1944/45, cat. 26). ing veils of paint that eventually claimed primacy in These works present a visual parallel to aspects of his work. Rothko s discussion in The Artist s Reality of plas- Central to Rothko s paintings on paper is the ticity and the importance of the viewer s role in the white of the sheet as it glows through the transparent completion of a work of art. The first sentence of his and translucent washes the artist applied in diverse Plasticity chapter indicates this book is devoted directions, using many different sizes of brushes, and mainly to the description of the plastic elements varying his hand pressure, together to create spatial and goes on to state: diversity within the field. Additionally, opaque white used independently and in admixtures of various In painting, plasticity is achieved by a sen- hues adds density that transparent watercolor gener- sation of movement both into the canvas ally defies. As paintings conservator Dana Cranmer and out from the space anterior to the has observed, during this period, a remarkable sym- surface of the canvas. Actually, the art- biosis occurred between the watercolors and the oils. ist invites the spectator to take a journey Rothko approached the canvas support much as he within the realm of the canvas. The spec- did the white paper support of the watercolor. 11 As tator must move with the artist s shapes part of his process of applying paint, Rothko increas- in and out, under and above, diagonally ingly incorporated rubbing and blotting methods and horizontally; he must curve around that provided subtle gradations to the hues. On paper spheres, pass through tunnels, glide down these actions alter the manufactured surfaces of the fig 18. Untitled, 1968 acrylic on paper mounted on hardboard panel, overall 18 1/16 x 11 7/8 x 1 7/16 inches (45.88 x x 3.65) Gift of The Foundation, Inc. NGA Kate Rothko Society (ARS), New York Image courtesy of the National Gallery of Washington paint across the sheet after it was applied further enriches monochromatic works, for example, Untitled, 1944/46 (cat. 30). During this 1944 to 1946 period Rothko s work became more fully involved (as a primary intention) with the process of painting itself. The methods he used and the marks he made were first and foremost in response to the evolution of the image per se rather than to any a priori situation. Dry brushstrokes of intense color are countered by watery pools of delicate hue. Individual painted marks likewise create forms and texture depending upon how loaded the brush was with paint when inclines, at times perform an aerial feat of flying from point to point, attracted by some irresistible magnet across space, entering into mysterious recesses and, if the painting is felicitous, do so at varying and related intervals. This journey is the skeleton, the framework of the idea... Without taking the journey, the spectator has really missed the essential experience of the picture. 10 While Rothko refers to canvas in the above paragraph, his comments equally apply to his sheets and, thus, the ways in which they subsequently respond to and carry the paint. Rothko rubbed or incised with such vehemence at times that he broke through the sheet entirely. In early 1946, Rothko s first exhibition since 1933 comprising solely works on paper was held at the Mortimer Brandt Gallery in Manhattan. Eighteen of his mid-1940s watercolors were on view, many of which were highly enough admired to be sold during the course of the show. Starting the following year and for much of the rest of his life, Rothko s attention was more focused on canvas than on paper. But on paper as well as on canvas, thinly applied layers of paint create zones of color; and works on the two substrates differ from the other primarily because of differences in these surfaces and the responsiveness of materials to their very different properties, and not in his handling of them. Size is perhaps the one major delineator his classic canvases reach dimensions impossible even with the largest rolls of paper available at that time (fig. 18). 12 The importance of paper to Rothko s oeuvre lasted well beyond the 1940s. What have come to be viewed as his classic compositions two, three, or fig 19. Untitled, 1969 acrylic on paper, sheet: 71 ¾ x 42 7/16 inches (182.3 x 107.8) Gift of The Foundation, Inc. NGA Kate Rothko Society (ARS), New York Image courtesy of the National Gallery of Washington 108 The Decisive Decade chapter 109 Rothko 2nd pages for color.indd /2/12 5:22 PM

9 cat 24. Untitled, 1950 oil on canvas, 43 x 49 ½ inches Washington. Gift of The Foundation, Inc., Kate Rothko Society (ARS), New York Image Courtesy Washington. 148 The Decisive Decade Rothko 2nd pages for color.indd /2/12 5:23 PM

10 150 The Decisive Decade chapter 151 Rothko 2nd pages for color.indd /2/12 5:23 PM

11 MARK ROTHKO The Decisive Decade: Essays by David Anfam, Brad R. Collins, Harry Cooper, Ruth Fine, and Christopher Rothko Skira Rizzoli Publications, Inc. 300 Park Avenue South New York, NY ISBN: $50.00 Can: $52.50 UK: HC, 9 x 11 inches 176 pages 100 color and B&W illustrations Rights: world For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Publicity Director, T. (212) , psommers@rizzoliusa.com

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