Art/ Collection/ Collection/ Art Object

Untitled

Artist:
Mark Rothko (American (born Russia), Dvinsk 1903–1970 New York)
Date:
1964
Medium:
Acrylic and casein on canvas
Dimensions:
93 x 80in. (236.2 x 203.2cm)
Classification:
Paintings
Credit Line:
Gift of the American Art Foundation, 1995
Accession Number:
1995.545
Rights and Reproduction:
© 2016 Artists Rights Society (ARS), New York
Not on view
Inscription: Signed and dated (verso): MARK ROTHKO/1961
[Marlborough Gerson Gallery, New York, 1969–93]; [C & M Arts, New York, 1993–95]

Berlin. Martin-Gropius-Bau. "Amerikanische Kunst im 20. Jahrhundert: Malerei und Plastik; 1913–1993," May 8–July 25, 1993, no. 115 (as "Untitled," 1961, lent courtesy of Marlborough Gallery, New York).

New York. C&M Arts. "Newman, Rothko, Still: Search for the Sublime," April 6–May 28, 1994, unnumbered cat. (dated 1961).

New York. C&M Arts. "Masters of American Painting: 1950s–1960s," March 29–May 13, 1995, no catalogue.

Houston. Menil Collection. "Mark Rothko: The Chapel Commission," December 13, 1996–March 29, 1997, no. 8.

National Gallery of Art, Washington D.C. "Mark Rothko," May 3–August 16, 1998, no. 97 (as "Untitled," 1964 [alternatively dated to 1961]).

New York. Whitney Museum of American Art. "Mark Rothko," September 10–November 29, 1998, no. 97.

Norman Rosenthal in American Art in the 20th Century: Painting and Sculpture 1913–1993. Ed. Christos M. Joachimides and Norman Rosenthal. Exh. cat., Martin-Gropius-Bau. Munich, 1993, p. 15, suggests that Rothko's colors communicate specific "cosmic experiences" and require an empathetic effort on the viewer's part.

David Anfam in American Art in the 20th Century: Painting and Sculpture 1913–1993. Ed. Christos M. Joachimides and Norman Rosenthal. Exh. cat., Martin-Gropius-Bau. Munich, 1993, p. 91, no. 115, ill. n.p. (color), states that the dark palette in works such as this picture, favored by Rothko after 1957, still draws the viewer in.

Carter Ratcliff in American Art in the 20th Century: Painting and Sculpture 1913–1993. Ed. Christos M. Joachimides and Norman Rosenthal. Exh. cat., Martin-Gropius-Bau. Munich, 1993, p. 167, cites this picture as an example of Rothko's "melancholy variant" of the greater American tradition of "Universal Being," as defined by Ralph Waldo Emerson.

Carol Mancusi-Ungaro in Jeffrey Weiss. Mark Rothko. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1998, p. 287, notes that the drips run horizontally across the canvas, suggesting that Rothko changed the orientation after finishing this picture for formal effects.

John Gage in Jeffrey Weiss. Mark Rothko. Exh. cat., National Gallery of Art, Washington D.C. 1998, p. 255, no. 97, ill. p. 205 (color), cites it as an example of the "grainy film" over the 1964 monochromatic paintings.

David Anfam. Mark Rothko: The Works on Canvas. Catalogue Raisonné. New Haven, 1998, p. 613, no. 771, ill. (color).



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