Rothko

I have a tendency to evaluate American Abstract Expressionists, or nearly any other artists for that matter, simply based on how visually captivating their works are to me, without much consideration for what lies beneath the surface. However, this book has been a real eye-opener. It has enabled me to look beyond the initial impression and delve deep into the artist's motives and fears.

It traces his journey from his hometown of Dvinsk in Russia, which is now part of Latvia, to Portland with his family, and then on to New York by himself.

The Taschen Basic Art Series (in its latest incarnation as 2.0) is an affordable yet outstanding collection that encompasses the most renowned artists throughout history. It provides a valuable opportunity for art enthusiasts like me to gain a more in-depth understanding of the artists and their works.

By reading this book, I have come to appreciate the complexity and depth of the artists' expressions, and it has enhanced my overall enjoyment and appreciation of art.

Marcus Rothkowitz is an artist worthy of in-depth study. This article provides an excellent quick study on him.

It showcases a good selection of his representative works, which allows readers to have a direct visual perception of his artistic style and creativity.

In addition, it also offers a brief overview of his life and the influencers who had an impact on his artistic journey.

Through this concise introduction, readers can learn a great deal about Marcus Rothkowitz without having to delve into a large volume of literature on the artist.

If one desires more in-depth knowledge, they can choose to seek out a more detailed volume.

Highly recommended for both artists and non-artists alike, this article serves as a great starting point for exploring the world of Marcus Rothkowitz.

Rothko is widely regarded as one of the most significant painters in history. His importance lies not only in his artistic output but also in his profound aesthetic awareness.

His painted works are not simply images; they are sensations that evoke deep emotions and experiences. Even when he delved fully into the use of color fields, he did not limit his work to just that. The color, for him, was merely a medium, almost like a gateway.

This is perhaps why Rothko preferred his works to be hung low to the floor. By doing so, he aimed to create a more direct and immersive experience for the viewer, allowing them to directly encounter the great tragedy of being.

His paintings have the power to transport us to a different realm, where we can explore our own emotions and thoughts. Rothko's art is a testament to the power of painting to convey complex and profound ideas.

Actually, this is quite a good art book. It contains a really detailed and fascinating history of Rothko's life. The author has done an excellent job of presenting the various aspects of Rothko's life, from his early years to his later achievements.

In addition to the interesting biography, the book also features many beautiful pictures. These pictures are not only aesthetically pleasing but also provide a great visual understanding of Rothko's artworks. I really liked looking at them and was able to appreciate the unique style and beauty of Rothko's paintings.

Overall, I would highly recommend this art book to anyone who is interested in art history or Rothko's works. It is a great addition to any art lover's collection and is sure to provide hours of enjoyment and inspiration. :)

Claiming there is any meaning in these paintings is akin to calling a painted wall a work of art.

It seems rather absurd to赋予such lofty status to something that, upon closer inspection, reveals itself to be of extremely poor quality.

Even if one were to argue that the paintings hold some deeper significance, it cannot be denied that, fundamentally, they remain dreadfully bad.

Their lack of skill, proportion, and overall aesthetic appeal is blatantly obvious.

Just look at them, and it becomes clear that these are not the works of a talented artist but rather something that fails to meet even the most basic standards of artistry.

To suggest otherwise is to turn a blind eye to the glaring flaws and shortcomings that are so evident.

It is important to be honest and objective when evaluating art, and in this case, the truth is that these paintings simply do not measure up.

The statement "Made the life of an amazing artist boring. Good job." seems rather harsh and perhaps inaccurate. An artist's life is often filled with creativity, inspiration, and a unique perspective on the world. While there may be aspects that others might perceive as boring, such as the time spent alone in the studio or the repetitive nature of certain techniques, these are all part of the process that leads to the creation of beautiful and meaningful art.

As for the comment that "This book is just for the pictures," it may be true that some people are primarily interested in the visual aspect of an artist's work. However, a good art book should also provide context, background information, and insights into the artist's creative process. The pictures may be the most visually appealing part of the book, but they are not the only thing that makes it valuable.

In conclusion, we should avoid making hasty judgments about an artist's life or the value of an art book based on a limited understanding. Instead, we should take the time to appreciate the complexity and depth of both the artist and their work.

This book offers a extremely concise introduction to Rothko's life and work.

The author devotes a significant amount of time (relatively speaking) to discussing Rothko's interest in Nietzsche's 'The Birth of Tragedy'.

It is a decent book. However, I believe that if I were to buy a book about Rothko, I would bypass this small one and instead obtain the one with the introduction by his son.

This is because the latter might provide more in-depth and personal insights into Rothko's life and artistic vision.

Nevertheless, this book still has its merits as it presents a quick overview of Rothko's life and work, which could be useful for those who are new to his art or looking for a brief introduction.

Overall, while it may not be the most comprehensive or definitive book on Rothko, it is still a worthwhile read for those interested in his art and life.

A book is not read or considered solely within the confines of its own covers, in isolation from other books or from life in general. This is perhaps a commonplace, but it bears repeating nevertheless. In my case, I read “Rothko” right after Thomas Merton’s autobiographical account of his becoming a Trappist monk, and not long after Atul Gawande’s “Being Mortal” and Carol Collier’s “Recovering the Body.” I have, in other words, been on a bimonth-long literary odyssey of death, life, body, soul, suffering, holiness, meaning and experience. So it does not feel purely serendipitous that it is just now that I finally take this closer look at Rothko’s work. On the contrary, it strikes me as fated that I would stumble over this Taschen book just now – in the bitter depths of a Canadian winter and after the other books mentioned.

The timing has in a sense primed me to read this book as a sort of prayer or meditation. In spite of its relative brevity (it sits at just over 90 pages, many of which consist of full-page reproductions of the artist’s paintings), it took me longer to finish than many a book of three or four times its length. I lingered over the illustrations, and found on not a few occasions that I was actually losing (finding?) myself in meditation before them. I mused over the artist’s wonderfully enigmatic and contrary statements about his own work, and over the incisive evaluations and descriptions of his colleagues and critics. Everything about Rothko’s work makes it such that it must be approached slowly, at the right time and in the right frame of mind. It isn’t fast-food art that can be gulped down on the way to something else. It has a presence that demands your full presence, too.

As many may know, I cannot generally be taken for an enthusiast of 20th-century –isms in art. I see the emperor’s new clothes in far too much of it. Not so with Rothko’s paintings. They are a contemplative’s best friend and have a surprising amount in common with the work of another favourite painter of mine, namely Il Beato Angelico. As it turns out, Rothko himself fell head over heals with Fra Angelico’s frescos on his first visit to San Marco in Florence, so one wonders whether this affinity becomes conscious and augmented following the visit to San Marco. At any rate, I confess to feeling rather proud of myself for sensing the semblance between the paintings of these two visual prophets, as uncanny as it is inexplicable, before knowing that Rothko had felt drawn to Fra Angelico's work.

The reading of this book has prompted two wish-list items. The first being to visit the Rothko Chapel and other places where his late canvases hang. Sadly, not a single Rothko is to be found at our own National Gallery here in Ottawa, so an in-person encounter will require heading further afield. Obviously I have seen Rothkos before – in New York, in London – but this is where the importance of “the right time” comes in. You cannot force the appreciation or enjoyment of a work of art. Readying oneself for a work can take almost a lifetime. The second wish-list item is a reproduction or two for a little piece of bruised heaven at home.

If I must present a small quibble it would be that the illustrations are not all presented strictly chronologically. Given Rothko’s distinct phases and the chronological nature of the text it is in some instances jarring to see, for example, one of the late, dark pictures near the beginning of the book next to a pastel sketch from an earlier period. But that is a very minor complaint. Overall, this is a lovely little book, one that will no doubt find itself taken from the shelf to be perused on many an evening to come.