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Mark Rothko’s classic book on artistic practice, ideals, and philosophy, now with an expanded introduction and an afterword by Makoto Fujimura Stored in a New York City warehouse for many years after the artist’s death, this extraordinary manuscript by Mark Rothko (1903–1970) was published to great acclaim in 2004. Probably written in 1940 or 1941, it contains Rothko’s ideas on the modern art world, art history, myth, beauty, the challenges of being an artist in society, the true nature of “American art,” and much more. In his introduction, illustrated with examples of Rothko’s work and pages from the manuscript, the artist’s son, Christopher Rothko, describes the discovery of the manuscript and the fascinating process of its initial publication. This edition includes discussion of Rothko’s “Scribble Book” (1932), his notes on teaching art to children, which has received renewed scholarly attention in recent years and provides clues to the genesis of Rothko’s thinking on pedagogy. In an afterword written for this edition, artist and author Makoto Fujimura reflects on how Rothko’s writings offer a “lifeboat” for “art world refugees” and a model for upholding artistic ideals. He considers the transcendent capacity of Rothko’s paintings to express pure ideas and the significance of the decade-long gap between The Artist’s Reality and Rothko’s mature paintings, during which the horrors of the Holocaust and the atomic bomb were unleashed upon the world.
The strange story of Harvard's Rothko murals has become part of the legend of contemporary art. Staff at Harvard Art Museums' Center for Conservation and Technical Research oversaw repairs and remounting of these large yet fragil works in preparation for a major exhibition at the Arthur M. Sackler Museum in August 1988. They were removed from the dining room of Harvard's Holyoke Center where they had hung since 1963 (a gift from the artist), suffering from tears, stains, graffiti, and severe color shifts from exposure to sunlight and instability in the artist's materials.(Harvard University Art Museums)
This is the first volume of the catalogue raisonne of the work of Mark Rothko, the abstract artist. It documents Rothko's entire output of paintings on canvas and panel, reproducing all the works in colour. An introductory text investigates the essential features of Rothko's art.
A book of heroic dimensions, this is the first full-length biography of one of the greatest artists of the twentieth century—a man as fascinating, difficult, and compelling as the paintings he produced. Drawing on exclusive access to Mark Rothko's personal papers and over one hundred interviews with artists, patrons, and dealers, James Breslin tells the story of a life in art—the personal costs and professional triumphs, the convergence of genius and ego, the clash of culture and commerce. Breslin offers us not only an enticing look at Rothko as a person, but delivers a lush, in-depth portrait of the New York art scene of the 1930s, ’40s, and ’50s—the world of Abstract Expressionism, of Pollock, Rothko, de Kooning, and Klein, which would influence artists for generations to come. "In Breslin, Rothko has the ideal biographer—thorough but never tedious, a good storyteller with an ear for the spoken word, fond but not fawning, and possessed of a most rare ability to comment on non-representational art without sounding preposterous."—Robert Kiely, Boston Book Review "Breslin impressively recreates Mark Rothko's troubled nature, his tormented life, and his disturbing canvases. . . . The artist's paintings become almost tangible within Breslin's pages, and Rothko himself emerges as an alarming physical force."—Robert Warde, Hungry Mind Review "This remains beyond question the finest biography so far devoted to an artist of the New York School."-Arthur C. Danto, Boston Sunday Globe "Clearly written, full of intelligent insights, and thorough."—Hayden Herrera, Art in America "Breslin spent seven years working on this book, and he has definitely done his homework."-Nancy M. Barnes, Boston Phoenix "He's made the tragedy of his subject's life the more poignant."—Eric Gibson, The New Criterion "Mr. Breslin's book is, in my opinion, the best life of an American painter that has yet been written . . . a biographical classic. It is painstakingly researched, fluently written and unfailingly intelligent in tracing the tragic course of its subject's tormented character."—Hilton Kramer, New York Times Book Review, front page review James E. B. Breslin (1936-1996) was professor of English at the University of California, Berkeley, and author of From Modern to Contemporary: American Poetry, 1945-1965 and William Carlos Williams: An American Artist.
Provides insight into the art business from the perspective of a gallery owner.
I am interested only in expressing basic human emotions - tragedy, ecstasy, doom, - Mark Rothko (1903 - 1970) said of his paintings. If you are moved only by their colour relationships, then you miss the point. Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited.
A handsome introduction to Rothko's rarely seen jewel-like paintings on paper of the late '60s This volume brings together key paintings from Rothko's (1903-70) renowned body of work made in the late 1960s--a significant and prolific period in the artist's life. In the wake of a particularly difficult bout of ill health and a tumultuous time in his personal life, Rothko was forced to reduce the scale of his practice from his signature monumental canvas to more intimately sized paper. Despite physical limitations, Rothko worked feverishly with a renewed enthusiasm for color, delighted by the effect of acrylic paint, which he had newly discovered. In an intimate introduction, Christopher Rothko writes of the artist's shift in scale and the parallel between the viewer's experience with the paintings and his father's own creation of them. Eleanor Nairne explores Rothko's trajectory, tracing his early works and experience painting through the Seagram paintings and chapel commission to these works on paper. The book is produced on the occasion of the inaugural exhibition of Pace Gallery's new gallery space in London.
Continuous Frieze Bordering [Red] documents the migratory patterns of an Other as she travels between countries, languages, and shades of Rothko's red. A narrative on hybridity, the text navigates the instability of cultural border identities and functions as an ekphrasis of Rothko's bricked-in, water-damaged windows in his Seagram murals.