Rothko, Mark

Obres

La família de Mark Rothko, jueva, emigrà als USA el 1913, procedent de Vitebsk [d’on també era Chagall].

El 1923 comença a estudiar art, després de deixar Yale.

Influït pels expressionistes i Paul Klee, es troba amb el cercle de Milton Avery on també hi ha Barnett Newmann. Explorà l’expressionisme i surrealisme.

El 1946 comença a treballar en les superfícies de colors, [Abstract expressionism]. Escrivia: I think of my pictures as dramas; the shapes in the pictures are the performers. Deixa de posar títols. En diu multiforms. “Rothko’s method was to apply a thin layer of binder mixed with pigment directly onto uncoated and untreated canvas and to paint significantly thinned oils directly onto this layer, creating a dense mixture of overlapping colors and shapes. His brushstrokes were fast and light, a method he would continue to use until his death”.

Viatges a Europa. Commogut per la espiritualitat de Fra Angelico.

Rebutja l’etiqueta de pintor abstracte i afirma que el seu interès és “… only in expressing basic human emotions—tragedy, ecstasy, doom, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions … The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationship, then you miss the point.” [A Viena vaig ser testimoni d’espectadors commoguts].

Als 60 Comença a tenir fama i millora la seva situació econòmica, però no està satisfet amb el que creu que és més una moda i no un acostament espiritual.

Murals Seagram

Rothko Chapel

1970 Suïcidi

 

Rothko. Black over Grey. 1969

Vistes al KHM a Viena el maig de 2019, procedents d’una col·lecció privada. “Working with acrylic paint on canvases primed with white gesso, he separates the picture plane horizontally into two distinct fields with dark above and light below. His brushwork, particularly in the lower grey sections into which he folds ochre and blue, is unusually llose. Where the two fields meet, our minds invariably perceive a horizon line, which in turn encourages a reading of the works as desolate, abandoned landscapes. […] The critic Robert Rosenblum sought to establish a relationship with the work of German Romantic artist Caspar David Friedrich, specifically with the feelings of infinity and mortality evoked in paintings such as The Monk by the sea (1808-10), suggesting that ‘we ourselves are the monk before the sea’.

Els paisatges recorden també les fotografies del mar de Hiroshi Sugimoto. L’efecte del monjo contemplant un paisatge sublim és real. Els visitants quedaven quiets davant les pintures, com meditant.


A la llibreria hi tinc una postal amb un figureta en un bloc de formigó, que evoca la contemplació d’un horitzó: