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Mark Rothko largely abandoned conventional titles in 1947, sometimes resorting to numbers or colors in order to distinguish one work from another. The artist also now resisted explaining the meaning of his work. "Silence is so accurate," he said, fearing that words would only paralyze the viewer's mind and imagination.
マーク ロスコ Markus Yakovlevich Rotkovich. マーク・ロスコ （ 英: Mark Rothko, 本名は 英: Markus Rotkovich または 英: Marcus Rothkowitz, ロシア語: Ма́ркус Я́ковлевич Ротко́вич, 1903年 9月25日 - 1970年 2月25日 ）は、ロシア系ユダヤ人の アメリカ の 画家 ...
Summary of Mark Rothko. A prominent figure among the New York School painters, Mark Rothko moved through many artistic styles until reaching his signature 1950s motif of soft, rectangular forms floating on a stained field of color. Heavily influenced by mythology and philosophy, he was insistent that his art was filled with content, and brimming with ideas.
Bilder von Mark Rothko erzielen regelmäßig seit der Jahrtausendwende auf dem Kunstmarkt Spitzenpreise in zweistelliger Millionenhöhe. Sein Werk White Center (Yellow, Pink and Lavender on Rose) aus dem Jahr 1950 wurde im Mai 2007 bei einer Auktion des New Yorker Auktionshauses Sotheby’s für 65 Millionen US-Dollar versteigert (mit Aufgeld entspricht dies rund 72,9 Millionen Dollar).
Mark Rothko is a key figure in Abstract Expressionism, best known for his large color field paintings like No.61 (Rust and Blue) (1953). Born Markus Rothkowitz in Dvinsk, Russian Empire (now Latvia) in 1903, Rothko and his family immigrated to the United States in 1913. He began his undergraduate studies at Yale University in 1921 but left two ...
Mark Rothko, pseudonimo di Markus Yakovlevich Rothkowitz (Daugavpils, 25 settembre 1903 – New York, 25 febbraio 1970), è stato un pittore statunitense di origine ebraico-lettone, spesso classificato come espressionista astratto e informale Biografia. Era il quarto figlio ...
Mark Rothko (1903-1970) belongs to the generation of American artists who completely revolutionized the essence and design of abstract painting. His stylistic evolution, from a figurative visual repertoire to an abstract style rooted in the active relationship of the observer to the painting, embodied the radical vision of a renaissance in painting.
