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Yellow and Blue Art Print Rothko, Mark 23.5625 in. x 31.375 in. Buy at AllPosters.com Framed Mounted Mark Rothko and Adolph Gottlieb were all founding in 1935, the group known as The Ten. Today, their work has little or nothing in common, but both are driven by the desire to present the painting, built entirely in terms of area, as a reality that can not be avoided. Gottlieb studied under John Sloan and Robert Henri, two leading representatives of American realism in the first decade of this century. After a period of expressionist realism, Gottlieb worked by itself an art form devoid of naturalistic references - forms used not as an equivalent of reality, but as something real and true in their own right.
A statement of its objectives, written by the artist himself, the figures in the exhibition catalog New Decade in New York in 1955. "I am ... concerned about the problem of projecting images on intangible and elusive that I think make sense in terms of feeling. The important thing is to transfer the image onto the canvas as it seems, without distortion. To change the image would be to falsify them, so I have to accept it as it is. My criterion is the integrity of the projection. "And since these images convey an emotion, they have a meaning of their own, they lose if they represented something other than these emotions.
Mark Rothko's painting is far removed from action painting at a time and Abstract Expressionism, which he considers a romantic effusion, and such a thing is foreign to his character and temperament. Robust originality, new issues he has raised and resolved, make him one of the undisputed leaders of contemporary American painting. The subtle complexity of his color treatment also differentiated him from these European trends that focus expression in the medium physical properties of the painter. However, as Sam Hunter noted, "this is the paradox of Rothko's paintings, as with all modern art seriously, they reach their maximum spiritual tension at times when they most strongly affirm their material existence . "
Rothko arrives at the complete identification of himself and his spiritual world in the development of its surface color, whose intensity is increased by the same freedom with which he treats them, they are never locked into a tablet or diagram, but flow freely, vital, rhythmically on its main forms. These surfaces are not color samples, they are punctuated by signs or reduced to their biological essentiality, but are cleverly determined in some way, with a steady pace, giving them a simple and robust architecture from which all superfluous elements and movement have been eliminated, with all the emotion concentrated in a uniform brightness.
Rothko painting is the result of an unending process of purification. Born in Russia, he came to the United States at the age of ten years, and later studied art and shared all the vicissitudes of American painting in the last decades. Figurative, to start leaning toward expressionism frankly, he then passed to a free interpretation of certain aspects of Surrealism, which in his case acted as a tonic rather than as a cultural lesson purely formal. With Motherwell, Gottlieb and Newman, he helped found the subjects of the Artist School in New York, whose activities have contributed to the development of mid-century painting in the United States.
Gradually, as he walked into his stride, Rothko simplified all external, and each element of the composition to the extreme, exploring the possibility of working on a pure form of light. "The progress of the work of a painter," he said in 1952 "as he moves in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and idea, and between the idea and the observer. Examples of these barriers, I give (among others) of memory, history or geometry, which are swamps of generalization from which one could draw parodies of ideas (which are ghosts), but never an idea in itself. To achieve this clarity is inevitably to be understood. "Since then it has great importance to this desire for clarity and communication. His painting can not dispense with the values ??of human presence, even if it creates a kind of mythology that excludes certain heraldic conventions of man as the geometry of memory with its host of persistent echoes and associations, and even history when considered as a general succession of events.
The order of purification of the art of Rothko, standing as it does the opposite of action painting, might tend to resolve itself in a pictorial space designed entirely in terms of two-dimensional surfaces, if n ' There was not a clean separation of form from another, which provides deep recession. So that even when the artist seems to reach a constant level of emotional reality, in fact - despite the apparent regularity of its surfaces rhythmically ordered - it is still very far from any immutable, crystallized the reality of neo-plastic. The forms are regular and well defined, but orchestrated and defined by the gesture, voluntarily limited by the hand that fixed, and not structuralized in an enclosed space.
They are repeated in the vertical plane of its large-scale photo, but diverse in their color quality and intensity of their light, and sensitive to all the forces and incidental contact. The presence of the artist at work, development of physical form, is not instinctive (Rothko left behind automation), but it is reflected on and nourished by his technical mastery of his medium, which enables it to individualize the quality of light in its most emotional dimension, body, but not the atmosphere, not only in bright, vivid blues, reds and yellows, but in darker shades of brown and even black . Bathed in this light, forms to expand the limits of their action imposes and implies, even then, a possible extension beyond this limit.
Nothing could be further from the carefree exuberance of abstract expressionism. The novelty of the Rothko painting in the world of American art lies primarily in the particularity of his attitude: it is possible to express anything in the definition of forms is performed to such a degree of clarity and of immaculate purity. The vitality of the texture, the artist rose to the vitality of the form, reaffirming its structural validity and emotional re-explore the deepest veins of emotional expression, and reconnect with the world. Rothko with the art of painting has come back to remove the veil and communicate, to accept and reject as in any human exchange, sort and order, and to rise at a monumental mythical, irresistibly attractive in the beauty of its colors and perfect harmony in the metric of its language.
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