Inscription: Signed and dated (verso): MARK ROTHKO/ 1949
the artist, New York (1949–d.1970; his estate, consigned to Marlborough Gallery, New York, 1970–77; returned to the artist's estate, 1977–79; transferred in 1979 to The Rothko Foundation); The Mark Rothko Foundation, Inc., New York (1979–85; gift to the MMA)
New York. Solomon R. Guggenheim Museum. "Mark Rothko, 1903–1970: A Retrospective," October 27, 1978–January 14, 1979, not in catalogue.
Museum of Fine Arts, Houston. "Mark Rothko, 1903–1970: A Retrospective," February 8–April 1, 1979, not in catalogue.
Minneapolis. Walker Art Center. "Mark Rothko, 1903–1970: A Retrospective," April 21–June 10, 1979, not in catalogue.
Los Angeles County Museum of Art. "Mark Rothko, 1903–1970: A Retrospective," July 3–September 26, 1979, not in catalogue.
San Francisco Museum of Modern Art. "Mark Rothko 1949: A Year in Transition/Selections from The Mark Rothko Foundation," March 18, 1983–September 16, 1984, no. 7 (on extended loan from The Mark Rothko Foundation, New York).
Musée départemental Matisse du Cateau-Cambrésis. "Ils ont regardé Matisse: une réception abstraite États-Unis/Europa 1948-1968," March 15–June 14, 2009, no. 11.
Karen Tsujimoto. Mark Rothko 1949: A Year in Transition/Selections from The Mark Rothko Foundation. Exh. cat., San Francisco Museum of Modern Art. San Francisco, 1983, pp. 12–13, 25, colorpl. 7, uses this work as an example of how Rothko's brushstrokes became more agitated and gained more importance as elements in the composition, giving the rectangles an added energy.
Donald M. Blinken et al. Eliminating the Obstacles Between the Painter and the Observer, The Mark Rothko Foundation: 1976–1986. [New York], , p. 55.
Julio Trenas. "Rothko y la 'Escuela de Nueva York'." Jano 804 (January 29–February 4, 1988), p. 106.
Diane Waldman. Mark Rothko in New York. New York, 1994, pp. 23–24, no. 26, ill. (color), cites this work as an early example of the artist's mature style.
Barbara Novak and Brian O'Doherty in Jeffrey Weiss. Mark Rothko. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1998, p. 270.
David Anfam. Mark Rothko: The Works on Canvas. Catalogue Raisonné. New Haven, 1998, p. 322, no. 421, ill. (color).
Oliver Wick inMark Rothko. Exh. cat., Fundació Joan Miró. Basel, 2000, pp. 28, no. 18, ill. p. 88 (color), discusses this work as an example of Rothko's intensification of color tones with deliberately placed dark rectangles in 1949.
Bernice Rose. Rothko: A Painter's Progress, the Year 1949. Exh. cat., PaceWildenstein. New York, 2004, p. 25, ill. p. 63 (color), discusses this work in the context of the growing importance of black in Rothko's palette.
Oliver Wick inMark Rothko. Ed. Oliver Wick. Exh. cat., Palazzo delle Esposizioni. Milan, 2007, p. 17, no. 59, ill. (color), cites this picture as an example of Rothko's progression towards the "blocky shapes" in his mature work.
Oliver Wick inMark Rothko Retrospektive. Ed. Hubertus Gassner, Christiane Lange, Oliver Wick. Exh. cat., Kunsthalle der Hypo-Kulturstiftung. Munich, 2008, p. 20, no. 59, il. (color).
Éric de Chassey inIls ont regardé Matisse: une réception abstraite États-Unis/Europa 1948-1968. Ed. Éric de Chassey and Émile Ovaere. Exh. cat., Musée départemental Matisse, Le Cateau-Cambrésis. Montreuil, 2009, p. 75, no. 11, ill. (color), states that this is a transitional work modeled on Matisse's "Interiors" of 1946-48, shown at the Pierre Matisse Gallery in early 1949.