Promote Your Favorite Pics Here~paintings,captures,digitals..etc

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Mark Rothko, Russian-born American painter, best known for his extensive series of large-scale color field paintings, was also a deeply intellectual artist. His writings and lectures on art and painting are poignant, profound, sometimes enigmatic.

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To the artist the workings of the critical mind is one of life's mysteries

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That is why...the artist's complaint that he is misunderstood, especially by the critic, has become a noisy commonplace diversion

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the Abstract artist Rothko has said..We salute [the] honest, we might say cordial, reaction toward our "obscure" paintings, for in other critical quarters we seem to have created a bedlam of hysteria

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LOVE ROTHKOS COURAGE TO SAY>>>
.................................We do not intend to defend our pictures.

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Rothko says his paintings speak for themseves...
............................They make their own defense.

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Rothko told his distractors and hecklers re his paintings..

.............We consider them clear statements.
Your failure to dismiss or disparage them is prima facie evidence that they carry some communicative power...
No possible set of notes or titles can explain my paintings

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Rothko goes on to say..
Their explanation must come out of a consummated experience between picture and onlooker

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From a weekly lecture at CSFA, 1947. Rothko said
The most interesting painting is one that expresses more of what one THINKS than of what one sees.
Philosophic or esoteric thought, for example carries importance

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From his statement in Possibilities, Winter 1947-48.
I think of my pictures as dramas; the shapes in the pictures are the performers
.They have been created from the need for a group of actors who are able to move dramatically
without embarrassment and execute gestures without shame

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The most important tool the artist fashions through constant practice
is faith in his ability to produce miracles when they are needed.

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Pictures must be miraculous,rather than petty..
the instant one is completed, the intimacy between the creation and the creator is ended

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the painter becomes the outsider.
The picture must be for him, as for anyone experiencing it alter, a revelation,
an unexpected and unprecedented resolution of an eternally familiar need

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From his statement on his "Attitude in Painting" 1949. ..Rothko says
The progression of a painter's work, as it travels in time from point to point,
will be toward clarity: toward the elimination of all obstacles
between the painter and the idea,
and between the idea and the observer.

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As examples of such obstacles, I give (among others) memory, history or geometry,
which are swaps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself.
To achieve this clarity is, inevitably, to be understood.

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From a symposium at the Museum of Modern Art 1951.
I paint very large pictures. I realize that historically the function of painting large pictures in painting something very grandiose and pompous

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The reason I paint them, however—I think it applies to other painters I know—is precisely because I want to be very intimate and human

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In conversation, 1953.
Maybe you have noticed two characteristics about my paintings; either their surfaces are expansive and push outward in all directions,
or their surfaces contract and rush inward in all directions.
Between these two poles you can find everything I want to say.

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in a letter to Katharine Kuh 1954.
Since my pictures are large, colorful and unframed, and since museum walls are usually immense and formidable, there is the danger that the pictures relate themselves as decorative areas to the walls.

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This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative; and have been painted in a scale of normal living rather than in institutional scale.

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i have on occasion successfully dealt with this problem by tending to crowd the show rather than making it spare.
By saturating the room with the feeling of the work, the walls are defeated and the poignancy of each single work...become[s] more visible.

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From a lecture at the Pratt Institute, 1958.
The recipe of a work of art—its ingredients—how to make it—the formula.

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1. There must be a clear preoccupation with death—intimations of mortality.
..Tragic art, romantic art, etc. deals with the knowledge of death.
ROTHKO

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2. Sensuality. Our basis of being concrete about the world. It is a lustful relationship to things that exist.
ROTHKO

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3. Tension. Either conflict or curbed desire.ROTHKO

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