Mark Rothko: Work

“Since I have a deep sense of responsibility for the life my pictures will lead out in the world, I will with gratitude accept any form of their exposition in which their life and meaning can be maintained, and avoid all occasions where I think that this cannot be done.... unfortunately, there are few existing alternatives for the kind of activity which your museum represents. Nevertheless, in my own life at least, there must be some congruity between convictions and actions if I am to continue to function and work.”

Mark Rothko

Quote from Rothko's letter to Whitney's director Lloyd Goodrich, End of 1952; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press, 1993, p. 304
Rothko was turning down a museum purchase
1950's

Life , World , Thinking , Sense

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Mark Rothko

Source: 1940's, Beyond the Aesthetics (1946), pp. 38-39

Life , World , Art , Way

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko

Source: 1940's, Beyond the Aesthetics (1946), p. 38

Art , Feeling , Sense

“.. one must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words..'. It was Marcel Duchamps who was critical, when he drew a moustache on the 'Mona Lisa'. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”

Mark Rothko

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Dreams , Art , Painting

“[the first ingredient of his work].. is a clear preoccupation with death - intimations of mortality.”

Mark Rothko

Quote from Rothko's 1958 lecture at the Pratt Institute; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press, 1993, p. 28
1950's

Death

“Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.”

Mark Rothko

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Love , Children , Soul , Courage

“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. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps 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.”

Mark Rothko

In Tiger’s Eye, Vol. 1, no 9, October 1949; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 170
1940's

Travel , History , Idea , Memory