Rothko, Mark - Expressionismo Abstracto
Abstracto / Abstract
Sacrifice of iphigenia, 1942
Oil on canvas
127 x 93,7 cm
Collection of Christopher Rothko
Untitled, 1942
Oil on canvas
71,3 x 92,1 cm
Guggenheim Museum. New York City
Aubade, 1944
Gouache
25 1/4 x 19 in
The Phillips Collection, Washington D.C.
Slow Swirl at the Edge of the Sea, 1944
Oil on canvas
191,1 x 215,9 cm
The Museum of Modern Art. New York City
Fantasy, 1945
Oil on canvas
134,9 x 98,7 cm
Private Collection
Tentacles of Memory, 1945-1946
Watercolor and ink on paper
55,3 x 76,2 cm
San Francisco Museum of Modern Art, San Francisco
Expressionismo Figurativo / Figurative Expressionism
Underground Fantasy, 1940
Oil on canvas
87,3 x 118,2 cm
National Gallery of Art. Washington D.C.
Untitled, 1941-1942
Oil on canvas
90,9 x 60,6 cm
National Gallery of Art. Washington D.C.
Untitled, 1941-1942
Oil on canvas
76 x 91,3 cm
National Gallery of Art. Washington D.C.
Expressionismo Abstracto / Abstract Expressionism
Untitled, 1946
Watercolor on paper
98,8 x 64,8 cm
Private collection
Untitled (# 17), 1947
Oil on canvas
47 3/4 x 35 1/2 inches
Guggenheim Museum, New York City
No. 1 (Untitled), 1948
Oil on canvas
8' 10 3/8" x 9' 9 1/4" (270.2 x 297.8 cm)
The Museum of Moder Art, New York City
Number 9, 1948
Oil on canvas
134,6 x 118,4 cm
National Gallery of Art. Washington D.C.
Untitled, 1948
Oil on canvas
127,6 x 109,9 cm
Collection of Kate Rothko Prizel
Number. 5/Number. 24, 1948
Oil on canvas
34 x 50 1/4" (86.1 x 127.6 cm)
Museum of Modern Art, New York City
Multiform, 1948
Oil on canvas
155.0 (h) x 118.7 (w) cm
National Gallery of Australia, Camberra
Number 1, 1948-1949
Oil on canvas
171,8 x 142,6 cm
The Frances Lehman Loeb Art Center Vassar College. Poughleepsie. NY.
Abstracto Contemplativo / Contemplative Abstract
Magenta, black, green and orange, 1949
Oil on canvas
216.5 x 164.8 cm
The Museum of Modern Art, New York City
Untitled, 1949
Oil on canvas
207 x 167,6 cm
Guggenheim Museum. New York City
Untitled, 1949
Oil on canvas
204,2 x 168,3 cm
National Gallery of Art. Washigton D.C.
Number 61, 1953
Oil on canvas
294 x 232.4 cm
The Museum of Contemporary Art, Los Angeles
Green over Blue, 1956
Oil on canvas
228 x 161 cm
University of Arizona Museum, Tucson. USA
Green and Maroon, 1953
Oil on canvas
91 1/8 x 54 7/8 in
The Phillips Collection, Washington D.C.
Black over Reds, 1957
Oil on canvas
241,3 x 207 cm
The Baltimore Museum of Art, USA
Number 13, 1957
Oil on canvas
242,3 x 206,7 cm
The Metropolitan Museum of Art. New York City
1957 # 20 [Black,brown on maroon' or 'Deep red and black' are alternative titles'], 1957
Oil on canvas
233.0 (h) x 193.0 (w) cm
National Gallery of Australia, Camberra
Untitled, 1959
Mixed media on canvas
265,5 x 288.3 cm
National Gallery of Art. Washington D.C.
Untitled, 1959
Oil on paper mounted on wood fiberboard panel
60,6 x 47,9 cm
Ealan Wingate. New York
Untitled, 1961
Pen and ink on paper
28,1 x 21,8 cm
National Gallery of Art. Washigton D.C.
Number 207, 1961
Oil on canvas
235,6 x 206,6 cm
Berkeley Art Museum. University of California
Untitled, 1968
Acrylic on paper on hardboard
23 3/16 x 18 3/4 in
The Phillips Collection, Washington D.C.
Black on Grey, 1969/1970
Acrylic on canvas
80 1/4 x 69 1/8 inches
Guggenheim Museum, New York City
..............................................................................................................
Em "Untitled, 1959", uma enorme tela de 265,5 x 288.3 cm, a composição vermelha, grande e indefinida, paree flutuar sobre um fundo castanho-avermelhado. As cores luminosas e lisas e a grande dimensão desta tela dramática competem entre si com uma subtileza serena, mergulhando-nos num sentimento de paixão, tragédia e sublimidade. Com as suas cores, Rothko quis atrair-nos para o plano da imagem, induzindo uma reacção de proximidade emocional. Na sua obra estava mais interessado em expressar as emoções humanas básicas, do que explorar a abstracção e a relação entre a cor e a forma. Considerava as formas dos seus quadros, normalmente rectângulos, como «coisas» e até mesmo como retratos. Os quadros deste autor exibem a expontaneidade de expressão típica do grupo nova-iorquino de pintores conhecidos como expressionistas abstractos. Dentro deste movimento, Rothko está mais ligado aos pintores da vertente Colour Field que se exprimiam através do uso da cor e não pelas marcas gestuais sobre a tela. Rothko suicidou-se em 1970. Mark Rothko nasceu em Dvisnsk (RUS) em 1903 e morreu em Nova Iorque (EUA) em 1970.
.......................................................................................................
Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year, he left Yale without receiving a degree and moved to New York. In 1925, he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s, Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933. Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945. In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life February 25, 1970, in his New York studio. A year later, the Rothko Chapel in Houston was dedicated.
Guggenheim Collection - Rothko Biography
................................................................................................................
Sacrifice of iphigenia, 1942
Oil on canvas
127 x 93,7 cm
Collection of Christopher Rothko
Untitled, 1942
Oil on canvas
71,3 x 92,1 cm
Guggenheim Museum. New York City
Aubade, 1944
Gouache
25 1/4 x 19 in
The Phillips Collection, Washington D.C.
Slow Swirl at the Edge of the Sea, 1944
Oil on canvas
191,1 x 215,9 cm
The Museum of Modern Art. New York City
Fantasy, 1945
Oil on canvas
134,9 x 98,7 cm
Private Collection
Tentacles of Memory, 1945-1946
Watercolor and ink on paper
55,3 x 76,2 cm
San Francisco Museum of Modern Art, San Francisco
Expressionismo Figurativo / Figurative Expressionism
Underground Fantasy, 1940
Oil on canvas
87,3 x 118,2 cm
National Gallery of Art. Washington D.C.
Untitled, 1941-1942
Oil on canvas
90,9 x 60,6 cm
National Gallery of Art. Washington D.C.
Untitled, 1941-1942
Oil on canvas
76 x 91,3 cm
National Gallery of Art. Washington D.C.
Expressionismo Abstracto / Abstract Expressionism
Untitled, 1946
Watercolor on paper
98,8 x 64,8 cm
Private collection
Untitled (# 17), 1947
Oil on canvas
47 3/4 x 35 1/2 inches
Guggenheim Museum, New York City
No. 1 (Untitled), 1948
Oil on canvas
8' 10 3/8" x 9' 9 1/4" (270.2 x 297.8 cm)
The Museum of Moder Art, New York City
Number 9, 1948
Oil on canvas
134,6 x 118,4 cm
National Gallery of Art. Washington D.C.
Untitled, 1948
Oil on canvas
127,6 x 109,9 cm
Collection of Kate Rothko Prizel
Number. 5/Number. 24, 1948
Oil on canvas
34 x 50 1/4" (86.1 x 127.6 cm)
Museum of Modern Art, New York City
Multiform, 1948
Oil on canvas
155.0 (h) x 118.7 (w) cm
National Gallery of Australia, Camberra
Number 1, 1948-1949
Oil on canvas
171,8 x 142,6 cm
The Frances Lehman Loeb Art Center Vassar College. Poughleepsie. NY.
Abstracto Contemplativo / Contemplative Abstract
Magenta, black, green and orange, 1949
Oil on canvas
216.5 x 164.8 cm
The Museum of Modern Art, New York City
Untitled, 1949
Oil on canvas
207 x 167,6 cm
Guggenheim Museum. New York City
Untitled, 1949
Oil on canvas
204,2 x 168,3 cm
National Gallery of Art. Washigton D.C.
Number 61, 1953
Oil on canvas
294 x 232.4 cm
The Museum of Contemporary Art, Los Angeles
Green over Blue, 1956
Oil on canvas
228 x 161 cm
University of Arizona Museum, Tucson. USA
Green and Maroon, 1953
Oil on canvas
91 1/8 x 54 7/8 in
The Phillips Collection, Washington D.C.
Black over Reds, 1957
Oil on canvas
241,3 x 207 cm
The Baltimore Museum of Art, USA
Number 13, 1957
Oil on canvas
242,3 x 206,7 cm
The Metropolitan Museum of Art. New York City
1957 # 20 [Black,brown on maroon' or 'Deep red and black' are alternative titles'], 1957
Oil on canvas
233.0 (h) x 193.0 (w) cm
National Gallery of Australia, Camberra
Untitled, 1959
Mixed media on canvas
265,5 x 288.3 cm
National Gallery of Art. Washington D.C.
Untitled, 1959
Oil on paper mounted on wood fiberboard panel
60,6 x 47,9 cm
Ealan Wingate. New York
Untitled, 1961
Pen and ink on paper
28,1 x 21,8 cm
National Gallery of Art. Washigton D.C.
Number 207, 1961
Oil on canvas
235,6 x 206,6 cm
Berkeley Art Museum. University of California
Untitled, 1968
Acrylic on paper on hardboard
23 3/16 x 18 3/4 in
The Phillips Collection, Washington D.C.
Black on Grey, 1969/1970
Acrylic on canvas
80 1/4 x 69 1/8 inches
Guggenheim Museum, New York City
..............................................................................................................
Em "Untitled, 1959", uma enorme tela de 265,5 x 288.3 cm, a composição vermelha, grande e indefinida, paree flutuar sobre um fundo castanho-avermelhado. As cores luminosas e lisas e a grande dimensão desta tela dramática competem entre si com uma subtileza serena, mergulhando-nos num sentimento de paixão, tragédia e sublimidade. Com as suas cores, Rothko quis atrair-nos para o plano da imagem, induzindo uma reacção de proximidade emocional. Na sua obra estava mais interessado em expressar as emoções humanas básicas, do que explorar a abstracção e a relação entre a cor e a forma. Considerava as formas dos seus quadros, normalmente rectângulos, como «coisas» e até mesmo como retratos. Os quadros deste autor exibem a expontaneidade de expressão típica do grupo nova-iorquino de pintores conhecidos como expressionistas abstractos. Dentro deste movimento, Rothko está mais ligado aos pintores da vertente Colour Field que se exprimiam através do uso da cor e não pelas marcas gestuais sobre a tela. Rothko suicidou-se em 1970. Mark Rothko nasceu em Dvisnsk (RUS) em 1903 e morreu em Nova Iorque (EUA) em 1970.
.......................................................................................................
Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year, he left Yale without receiving a degree and moved to New York. In 1925, he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s, Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933. Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945. In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life February 25, 1970, in his New York studio. A year later, the Rothko Chapel in Houston was dedicated.
Guggenheim Collection - Rothko Biography
................................................................................................................
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2:54 PMgostamos tanto do seu blog que o linkámos nos favoritos do nosso.
era para o informar/pedir autorização para tal.
abraço e parabéns pelo seu belíssimo blog, autêntico serviço público!
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9:57 AM
Photographies de la sentiment du beau. Tout cela est bel et bon, mais sculpteur s'appeler, son nom est > Alberto GiAcometti.
Ne pas nom GiOcometti !!
Holand
Varsovie 5.12.2011
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