Mark Rothko: Paintings on Paper
National Gallery of Art
Washington D.C.
On View Through March 31, 2024
Renowned for his deep exploration of human emotions through color and form, Mark Rothko is a towering figure in abstract expressionism. While his monumental canvases have captivated global audiences, a lesser-known aspect of his legacy shines through his extensive body of work on paper. The National Gallery of Art in Washington D.C. is hosting an exhibition that delves into Rothko's paper paintings, close to 1,000 pieces that unveil a more introspective and experimental side of the artist. These works, often seen as finished artworks rather than studies, showcase Rothko's mastery of color, texture, and composition on a more personal scale.
Mark Rothko: Paintings on Paper (Catalogue)
Description
Mark Rothko (1903-1970) is renowned for his towering abstract paintings on canvas; joy, despair, ecstasy, and tragedy are among the themes that he sought to express in his luminous works. Despite Rothko's prominence, few people know that he also created more than 1,000 paintings on paper over the course of his career. The artist viewed these not as preliminary studies but as finished paintings in their own right.
These remarkable paintings range from early figurative subjects and surrealist works to the soft-edged rectangular fields, often realized at monumental scale, for which Rothko is best known. This book accompanies the first major exhibition dedicated to Rothko's works on paper in forty years and brings together nearly one hundred radiant, rarely displayed examples.
Rothko's paper paintings convey a wide range of themes and emotions, from joy to despair, ecstasy to tragedy, initiating a dialogue about human experiences. Unlike his large canvases, these smaller pieces draw viewers in, inviting a closer examination of Rothko's nuanced brushwork and color choices. The exhibition features over 100 of Rothko’s most compelling paper paintings, guiding visitors through his evolving artistic style, from early influences to the iconic soft-edged rectangular fields that define his later work.
The technical virtuosity displayed in Rothko's paper paintings is striking. Despite their smaller scale, layered washes, delicate brushstrokes, and subtle color gradations create a mesmerizing depth and luminosity, evoking profound emotions and contemplation.
Mark Rothko's paper paintings challenge notions of "finished" artwork, blurring the lines between sketches and completed pieces. The exhibition not only honors Rothko's brilliance but also offers viewers a unique perspective on his creative journey across distinct periods: Aspiration, Breakthrough, Transition, Arrival, Revitalization, Eclipse, Coda & In The Studio. This journey invites viewers to immerse themselves in color, emotion, and introspection, deepening their understanding of Rothko's enduring artistic legacy.
ASPIRATION | Mid 1930’s
During the mid-1930s, Mark Rothko's early works on paper encompassed a variety of subjects including landscapes, portraits, nudes, and bathers. Exhibited during this period, these pieces marked the inception of Rothko's artistic journey. Notably, his career as an artist commenced with a solo exhibition showcasing his watercolors, which he also generously gifted to family and friends. However, despite his efforts, these paintings struggled to find buyers, necessitating Rothko to supplement his income by teaching children's art classes at the Center Academy of the Brooklyn Jewish Center.
Rothko approached his teaching role with dedication, emphasizing the importance of self-expression over technical proficiency to his students. He embodied this ethos in his own artistic practice, painting swiftly and instinctively during the 1930s. He reveled in the fluidity and transparency of water-based paints, a medium that allowed him to experiment and explore freely. Through his early watercolors, one witnesses an aspiring artist grappling with influences from his predecessors while forging his unique artistic identity.
These early works not only reflect Rothko's technical exploration but also foreshadow the thematic and expressive depth that would characterize his mature oeuvre. They serve as glimpses into the artistic evolution of a painter on the cusp of defining his distinctive style and voice in the art world.
BREAKTHROUGH | Mid 1940’s
During World War II, Rothko sought inspiration from ancient symbols and historical themes to convey the tragic essence of human existence. Drawing from mythology, ancient art, archaeology, religion, and natural history, he also found stylistic influence in European surrealists such as Joan Miró and Yves Tanguy, who sought to depict the unconscious mind. Rothko's artworks from this period often evoke underwater realms, vague recollections, dreamy imagery, or newly unearthed artifacts.
In 1946, gallerist Betty Parsons curated a significant exhibition of Rothko's recent watercolors, marking a pivotal moment in his career. The exhibition received positive reviews, leading to rapid sales of nearly all displayed works. This success allowed Rothko to commit himself entirely to painting, a relief he expressed in a letter to friends: "So maybe there is hope," signaling a turning point after years of struggle.
TRANSITION | Late 1940’s
Rothko's artistic journey extended into the late 1940s, witnessing a noticeable evolution in style. By 1947, he expressed a need to dismantle the "familiar identity of things," leading to the dissolution of his symbolic motifs and structured compositions into ethereal shapes and swirling backgrounds. These abstract forms eventually gave rise to the iconic rectangular blocks and horizontal bands that defined his work from 1949 onward. Rothko transferred the delicate washes and translucent glazes seen in his paper works to the larger canvases that would dominate his artistic production throughout the rest of the decade.
The pivotal role of Rothko's watercolors from the 1940s in shaping his signature style became evident years later during his inaugural solo exhibition at the Museum of Modern Art in New York in 1961. This exhibition marked a significant milestone, with Rothko personally involved in selecting the artworks displayed. Among the 48 paintings showcased, only four were executed on paper— positioned to the right in a quartet. These early works were presented by Rothko as the foundation of his mature artistic phase, highlighting their importance in his artistic evolution.
ARRIVAL | Late 1950’s
By 1949, Rothko had embraced his preferred artistic format: soft-edged rectangles arranged vertically on a monochromatic background. While he primarily explored this concept on canvas throughout the 1950s, towards the decade's end, he embarked on a burst of creativity, producing nearly 60 paintings on paper. Working on a smaller scale allowed Rothko to create refined and impactful artworks showcasing a wide range of tones, textures, and emotions.
Rothko insisted that his "classic format" paintings on paper be mounted—glued to a secondary support of linen or board and then attached to stretchers or strainers. He also specified that these works should be exhibited without frames or glass. These unconventional decisions imbued Rothko's paper works with the same presence and essence as his canvas pieces, providing viewers with a direct and uninterrupted experience, a priority for the artist. As he expressed in 1959, "a painting is not a picture of an experience; it is an experience."
REVITALIZATION | Late 1960’s
In the spring of 1968, Rothko faced a life-threatening aortic aneurysm. Following his doctor's advice for a healthier lifestyle, he was restricted from creating paintings taller than 40 inches.
After a period of recovery, Rothko returned to his artistic endeavors, focusing on relatively small paper sheets. Despite ongoing health challenges, he exhibited remarkable productivity and vigor, producing an astonishing 120 paintings on paper in 1968, marking his most prolific year yet.
Interestingly, by the end of 1968, Rothko had resumed working on larger scales, with some sheets reaching up to 60 inches in height. Rather than slowing down, Rothko seemed revitalized, infusing his late works with increased scale, energy, and intensity. This period marked a resurgence in his artistic output, showcasing his ability to adapt and innovate despite adversity.
ECLIPSE | 1969
In the series known as the Brown and Grays, Rothko explored variations on a meticulously structured format: a dark upper zone juxtaposed with a lighter lower section, bordered by exposed paper. Observers ranging from friends and acquaintances to art critics interpreted these late somber paintings as a reflection of Rothko's declining health.
Following his death by suicide on February 25, 1970, the dark hues prevalent in these works became intertwined with his passing, a connection that endures today. However, Rothko's fascination with tragic themes was longstanding, evident in his works regardless of color palette. As the artist articulated years prior, his goal was to capture "the expression in concrete form of... the truths of time and space, life and death, and the peaks of elation as well as the depths of despair." This broader perspective underscores Rothko's artistic vision beyond mere color associations.
CODA | Late 1969
In the latter months of 1969, Rothko created a series of delicate paintings on paper characterized by soft, cloudlike edges framed by margins of light-colored paper. These pieces, featuring tranquil shades of gray, mauve, lavender, pink, and blue, evoke memories of his earlier watercolors from the 1940s with their aquatic and ancient themes (some of which are displayed on the Mezzanine level, one floor below). At the start of 1969, Rothko meticulously reviewed and organized approximately 800 of his artworks on both paper and canvas. Looking back, did he find renewed relevance in his earlier creations?
In the final two years of his life, Rothko produced approximately 420 paintings on paper, a stark contrast to the mere 30 canvases completed during the same period. While some of his works, such as the Brown and Grays exhibited in the nearby gallery, represent a culmination of his exploration into conveying the tragic aspects of human existence, the serene paintings showcased here, created around the same time, may hint at a new artistic direction. The potential trajectory of this direction remains speculative, as Rothko, famously reticent about explaining the meanings behind his abstract works, remained silent on the matter.
Nearly three decades earlier, Rothko did express that "art is an adventure into an unknown world, which can be explored only by those willing to take the risks." This sentiment underscores his belief in the transformative and exploratory nature of art, leaving room for interpretation and discovery within his artistic legacy.
IN THE STUDIO
The artworks displayed in this room remained unseen during Rothko's lifetime. Almost all of them exhibit varying degrees of incompleteness, which adds to their allure. These pieces provide valuable insights into Rothko's artistic techniques and materials— from his brushstrokes and layering methods to his experimentation with framing, mounting, and treatment of edges.
Moreover, these works showcase the dynamic nature of Rothko's creative process, highlighting his desire for active engagement from the viewer. As he expressed in 1940, "The artist invites the spectator to perform an aerial feat of flying from point to point, attracted by some irresistible magnet across space, entering into mysterious recesses." This quote underscores Rothko's intention to draw viewers into a contemplative exploration of his art, encouraging them to traverse the canvas and delve into its enigmatic depths.
