Mark Rothko citations (36 citations, Page 2)

Mark Rothko: 36 citations 0 J'aime

Mark Rothko: Citations en anglais

“I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.”

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Mark Rothko

Source: after 1970, posthumous, Abstract Expressionism, Creators and Critics', 1990, p. 173 : working notes, undated

“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.”

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Mark Rothko

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

“[I am] dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.”

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Mark Rothko

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 81
after 1970, posthumous

“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures…. these new shapes say…. what the symbols said. [Rothko, explaining Seitz his new way of painting during the mid-1940s]”

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Mark Rothko

Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 142
after 1970, posthumous

“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.”

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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

“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures.... these new shapes say.... what the symbols said.”

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Mark Rothko

Rothko, explaining Seitz his new way of painting during the mid-1940s
Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 142
after 1970, posthumous