Μεγάλος καλλιτέχνης!

This is a simple yet powerful exclamation. It means "Great artist!" in Greek. The exclamation mark emphasizes the admiration and respect for the artist.

The link provided, https://pepperlines.blogspot.gr/2018/..., might lead to more information about the great artist or their works. It could be a blog post, an article, or a gallery展示.

Perhaps the author of this text wants to share their discovery of a remarkable artist with others. By using this exclamation and providing the link, they are inviting readers to explore and learn more about the artist's talent and creativity.

Whether you are an art lover or simply curious, clicking on the link might lead you to a world of inspiration and beauty.

I became emotionally attached to this compilation.

It was not just a random collection of things, but rather a meaningful assemblage that held a special place in my heart.

Each item within it seemed to tell a story, evoke a memory, or stir up a particular emotion.

As I browsed through the compilation, I found myself getting lost in the details, reminiscing about the times and experiences associated with each element.

It was as if this compilation was a time capsule, preserving moments that might otherwise have been forgotten.

The emotional connection I felt was deep and profound, and it made me realize the power that such compilations can have in our lives.

They can serve as a source of comfort, inspiration, and even nostalgia, allowing us to relive and cherish the past.

I am grateful to have come across this compilation and to have formed such a strong emotional bond with it.

It will continue to be a precious part of my life, a reminder of the things that matter and the memories that shape who we are.

Rothko was extremely disinclined to write about his work, which led to the inclusion of some necessary filler or ephemera in this collection. I chose to gloss over numerous letters regarding mundane topics such as the weather, construction, and buying cars, even if they were addressed to Barnett Newman. However, the valuable content within these pages is truly remarkable and worth its weight in gold.

His early notes on teaching art to children, a task he undertook from 1929 to 1952, offer profound insights into his influences and creative process. Another notable highlight is his speech at Yale upon receiving an honorary degree, where he outlined his seven points on what art should be. Despite the common perception of Rothko as being hostile, this lecture is a significant act of generosity.

An essay by a writer from Harpers, who became friends with Rothko on a boat precisely because he had no connection to the art world, provides a wonderful portrait of the artist. Unlike critics, the author comes to understand Rothko's work as an extension of the man himself. For someone so averse to self-description, Rothko was surprisingly quotable. A line like "I've been painting Greek temples all my life and never knew it" is both provocative and haunting.

This is truly very inspirational stuff.

It holds great value and significance for every pre-school teacher.

Pre-school teachers play a crucial role in shaping the young minds and futures of our children.

By reading this, they can gain valuable insights, new perspectives, and fresh ideas that can enhance their teaching methods and approaches.

It can inspire them to be more creative, patient, and understanding in the classroom.

Moreover, it can also help them to build stronger relationships with their students and create a positive and nurturing learning environment.

Every pre-school teacher should take the time to read this and let it inspire them to be the best educators they can be.

After all, the impact they have on their students at this early stage of life is immeasurable.

So, go ahead and read this inspiring piece, and let it transform your teaching journey for the better.

A new academy is repeating an old game: trying to create something by inventing its name.

Some artists want to say everything. But I believe that it is deeper to say little. My paintings are sometimes called "faces", and in fact they are.

_______________________________


Rothko lists some "ingredients" that he believes are necessary for painting.

A clear awareness of death. All art is in relation to death.

Sensuality, indispensable for representing the world in a concrete way.

Tension, that is, conflicts or desires that in art are dominated at the very moment they manifest.

Irony, a modern ingredient (the Greeks didn't need it). A form of self-cancellation, and at the same time of self-analysis, with which man can, at least for an instant, escape his own destiny.

Shrewdness, humor.

Some grams of the ephemeral and some grams of the casual.

A ten percent of hope... Only if you need it; the Greeks didn't have it.

I paint large-scale paintings because I want to create a situation of intimacy. A large-scale painting provokes an immediate transaction that includes the observer within it.

Fragments taken from the notes taken by Dore Ashton at the conference held by Rothko at the Pratt Institute in Brooklyn on October 27, 1958. Published in an article by Dore Ashton in "Cimaise", December 1958.

I have a strong preference for being prodigal rather than stingy. In fact, I would go so far as to attribute anthropomorphic qualities to a stone rather than dehumanize the tiniest possibility of consciousness.

This stance reflects my belief that it is better to err on the side of generosity and openness than to be overly cautious and closed-minded.

By anthropomorphizing a stone, I am imagining it as having some sort of personality or character, which in turn allows me to see the world in a more vivid and interesting way.

On the other hand, dehumanizing the smallest hint of consciousness seems to me to be a very cold and unfeeling approach.

After all, even the tiniest spark of awareness has the potential to grow and develop into something much greater.

Therefore, I choose to embrace the prodigal spirit and look for the humanity in everything around me.

You will be despised for painting a series of easy and quick-to-execute color planes without any kind of effort, which anyone could do, but no one would know how to argue it, ignoring that you not only painted colors, nor that you were neither abstract nor expressionist, nor that you trusted your paintings as precious jewels.

Every time for months when I went to the bookstore, I saw this book unit, waiting for me. It seems that it is little in demand.

I have read a lot about you, but it is here that I have found answers.

Your art may not be immediately understood or appreciated by everyone. The simplicity of your color planes may lead some to think that it requires no skill or effort. However, they fail to see the depth and thought that goes into each of your works. You are not simply painting colors; you are expressing something deeper within yourself.

The fact that this book about you is not in high demand may be a sign that your art is ahead of its time. It may take time for people to fully understand and appreciate your unique vision. But for those who are willing to look beyond the surface, they will find a world of beauty and inspiration in your paintings.

I am grateful to have found this book and to have discovered your art. It has opened my eyes to a new way of seeing and understanding the world. I look forward to seeing more of your works and learning more about your creative process.

This statement, "Altamente inspiraciónal para cualquier artista," which means "Highly inspiring for any artist" in English, holds a great deal of truth.

Artists of all kinds, whether painters, writers, musicians, or sculptors, are constantly seeking inspiration to fuel their creative processes.

Finding something that is highly inspiring can have a profound impact on their work. It can spark new ideas, push them to explore different techniques, and ultimately lead to the creation of something truly remarkable.

Inspiration can come from many sources, such as nature, other works of art, personal experiences, or even the words and ideas of others.

When an artist encounters something that is highly inspiring, it can set their imagination on fire and give them the motivation they need to bring their vision to life.

So, for any artist, seeking out and being open to highly inspiring experiences and ideas is essential for growth and the creation of great art.

This text is truly appalling.

It is completely inundated with racism, sexism, and classism.

If one has a penchant for pretentiousness, an excessive fondness for the rather tired concept of Cartesian dualism, and an inaccurate male-centered explanation of all the art of antiquity, then perhaps this is the text for them.

However, for those who value fairness, equality, and a more accurate and nuanced understanding of art and history, this text is likely to be a major turn-off.

It seems to be filled with outdated and offensive ideas that have no place in a modern and enlightened society.

One can only hope that such texts will become increasingly rare and that we can move towards a more inclusive and respectful intellectual environment.

The stars would be four, if only it were not so short.

Mark Rothko once said, "Today the artist is no longer conditioned by the presupposition that the entire existence of a person is expressed by his exterior aspect. Free from the necessity of representing externally a particular individual, the artist sees opening up before him infinite possibilities. His model thus comes to coincide with the totality of human experience. In this sense, it can be affirmed that the whole of art is nothing other than the portrait of an idea."

This profound statement by Rothko reflects his unique perspective on art. He believed that art should not be limited to simply depicting the outward appearance of a person. Instead, it should strive to capture the essence and totality of the human experience. By breaking free from the traditional constraints of representing a specific individual, the artist can explore a vast range of possibilities and express ideas that are universal and profound.

Rothko's works are a testament to his belief in the power of art to convey the intangible and the abstract. His paintings, with their large fields of color and simple forms, evoke a sense of emotional depth and spiritual connection. They invite the viewer to engage with the work on a deeper level and to explore their own inner world.

In conclusion, Rothko's ideas about art continue to inspire and influence artists today. His emphasis on the importance of expressing the totality of human experience and the power of art to convey ideas that are beyond the physical realm is as relevant now as it was when he first articulated them.

Rothko, when I first felt you, it was six years ago in Boston.

I was fleeing from all the cacophony I heard within the museum. Tired of the solitude I felt, I sought refuge in a black room where your black, purple canvas came into view.

I sat down, and for the very first time in my life, I experienced the scale overwhelming me, pulling me into the space. I felt as if I was drowning, yet unable to move from where I was seated.

After four months of feeling numb, in front of your work, I suddenly felt alive again, felt human once more. Your gigantic canvas was drowning me, yet simultaneously making me yearn to breathe!

God, I felt I could scream, could cry, could feel! The moment I felt tears trickling down my cheeks, I ran away from your canvas.

I looked around, and I was all alone. I never truly understood what had transpired that day until I began reading your letters. Now, I can finally put a name to what I lived through that day. And Mr. Rothko, your canvas has made me feel human again. Thank you. Thank you.

Gaidīju, ko vairāk. This phrase seems to imply a sense of anticipation, waiting for something more. It could suggest that there is an expectation for additional or greater things to come.

Bet tas varbūt tas over-hype iespaids šaizemē. However, perhaps it is the over-hyped impression in this place. Maybe there has been an excessive amount of promotion or exaggeration, which has led to a certain perception.

It could be that the anticipation created by the idea of "gaidīju, ko vairāk" is being influenced by the over-hype in the area. This might cause people to have overly high expectations or be misled by the exaggerated claims.

On the other hand, it's also possible that the over-hype is simply a marketing strategy to attract attention and generate interest. But regardless of the intention, it's important for consumers or observers to be able to see through the hype and make their own judgments based on the actual facts and experiences.