Mark Rothko – A journey into human emotions

Mark Rothko has been one of the most influential artists of the last century. Despite his great production –nearly 800 works were left in charge to the heirs after his death – and the different periods that have characterised it, he is known in particular as one of the protagonists of the Abstract Expressionism, the first American current that got international recognition. And that is also how I got to know him: through his colourful undefined rectangles. When I’ve started to see his paintings on the many online art channels I follow, I genuinely wondered why he has become so important in art history. I started to read more about him, and his works were described as a pure journey into the human emotions, to be experienced in first person. Then the exhibition at the Kunsthistorisches Museum, the Museum of Art History in Vienna, came.

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Violet, Black, Orange, Yellow on White and Red (post-title), 1949 (image taken from wikiart.org)

While Rothko has revolutionised the art world during his times, I think in Europe he still hasn’t the recognition he deserves, if we consider other artists like Marc Chagall, Max Ernst, Henri Matisse (and I haven’t mentioned these artists as merely contemporaries of him; but let’s proceed step by step). Europe in history has always been the centre of the artistic movement with respect to the rest of the world (and here it is interesting to mention my post about a study from Roberta Sinatra, where it is shown that nowadays the major museums and art institutions are almost concentrated in the United States). And it is from the old continent that Rothko takes his inspiration.

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Untitled, 1944 (image taken from wikiart.org)

But let’s start from the origins: Marcus Rothkovich was born in 1903 in Dvinsk, a city in Russia, nowadays in Latvia, from a Jewish family. Since an early age he shows a perceptive and sensitive soul, particularly affected also by the times he lives in: before the First World War there is already a feeling of intolerance against Jews all over Russia. When the situation worsens, his father decides to emigrate with the family to Portland, in the United States. Here Marcus becomes a great student and receives a fellowship for Yale University, although he is still not devoted to art only and chooses a major in humanities. He will never finish his studies at Yale, though he will get, 46 years later, an honorary doctorate in Fine Arts.

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Interior, 1936, National Gallery of Art, Washington, DC, US (image taken from wikiart.org)

After having dropped out of Yale due to financial reasons, he decides to move to New York and continues his studies in drawing and design. He enrols in the class of the famous Modern artist Max Weber, who shares the same background of being Jewish and immigrant with his student and soon becomes friends with him. Max Weber had travelled to Paris and met Henri Matisse, with whom he studied for a short timee. Thanks to him and to the increasing interest in museums and exhibitions, Rothko gets introduced to his contemporaries in Europe, like the Fauves (the French group around Matisse) and the German Expressionism. This will be the beginning of a long exploration in the art world, from which Mark will constantly take inspiration to create his personal and unique style. Other strong influences –and artists that will deeply inspire him – will come from Milton Avery, Giorgio De Chirico, Michelangelo, but also Nietzsche, the Greek mythology, poetry, music.

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Underground Fantasy, 1942, National Gallery of Art, Washington, DC, US (image taken from wikiart.org)

His artistic development can be divided in four different periods: the Realist years, from 1924 to 1940, the Surrealist period, from 1940 to 1945; the transition ‘til 1949 that will lead him to the Abstract Expressionism period, his trademark style.

The works characterizing his first two stages are mainly landscapes, interiors, still-life, New York subway scenes, clearly inspired by his first mentor, Max Weber.

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Untitled, 1942, National Gallery of Art, Washington, DC, US (image taken from wikiart.org)

In 1940 Marcus Rothkovich decides to change his name in Mark Rothko, uncanny because disconnected to any nationality. The period during the Second World War has a strong influence on his style, bringing a deep change in his conception of art, making for him inconceivable to keep painting like before. This change makes him revisiting the Greek mythology, whose brutal tragedies of violence and revenge and strong passions well reflect the modern times. The transition in his works starts with the abandon of concrete subjects to focus on colours and shapes (the so-called multiforms), getting then to his classical stage of pure abstraction, influenced by Dada and Surrealism coming from Europe.

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Multiform (post-title), 1948, 118.7 x 144 cm, National Gallery of Australia (NGA), Canberra, Australia (image taken from wikiart.org)

What emerges from Rothko’s art, in particular from the last period, is the absence of any guidance to interpret his works, later reflected also in the removal of the titles, with the artworks simply numbered. His intention is, indeed, to leave the viewer, through the colours and the large sizes of the canvasses, free to experience their own feelings and emotions.Mark Rothko hasn’t been a poor, unfortunate artist: he has rather been successful and estimated. Yet, he has always refused any label and has always felt somehow misunderstood by the art world. A double proof of his great talent and ability of touching human vulnerability.

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Untitled, 1968, Gemeentemuseum den Haag, Hague, Netherlands (image taken from wikiart.org)

There is a lot more I would like to add about this artist that has deeply impressed me; but I would, instead, suggest to simply take the chance to visit the great exhibition that the Kunsthistorisches Museum is offering in Vienna until the 30th of June, or simply to get curious about him, and to open your mind to the beauty that is not necessary expressed in the form of an idyllic landscape.


 

Head image: Self-portrait, 1936 (image taken from the official page of the exhibition)

All the information are taken from the book Rothko – Pictures as drama, from Jacob Baal-Teschuva, Taschen Books editions, that I bought at the Kunsthistorisches Museum after having visited the exhibition. I give high value to the quality and correctness of my contents, but I am also just an enthusiast (you can find my self-introduction here). Please leave any comment or addition that can improve or give a wider view on this great artist!

Lucio and Duilio Forte, architects of imagination

Today I would like to introduce you a very talented artist and friend I got to know already some years ago: Lucio Lars Forte. This time we move to Milan, more specifically in a peripheral area where open fields give a greener feeling of the city.

Lucio is Italian with Swedish origins; he studied architecture and from there started to develop his own, unique style, mixing different techniques and materials, joining architecture with painting and comics, another great passion of him.

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Sistema indipendente (Independent system), 2014, watercolor, Indian ink, glue on paper (48 x 98 x 3 cm)      – …now the base lives in an independent system… We can go      -Where to?

Together with his brother, Duilio Forte, as well an affirmed artist, he shares an old industrial plant renovated as studio atelier: Orygma, his own space, and AtelierFORTE. The latter serves as (but is not limited to) atelier and showroom; and everything about and inside this building complex is pure and mesmerizing art, thanks to the creations, sculptures and design elements from Duilio. Here is a video he made to present his atelier and works he created, truly worth to see.

Tipp Tapp, Duilio Forte 2018

I had the great possibility to visit the whole structure on different occasions, thanks to the warm and friendly environment present at every exhibition that Lucio organizes.

I ended up in this bucolic place after having read about a collective exhibition called Sottosuolo (Subsoil in English): just few but beautifully written words to introduce the overall concept of the selected works. I could see from the map that the place was reachable after a long way with the bus from the city centre; but careless I decided to go there. And finally, after many glossy and snobbish vernissages in the centre of the city, I could find an authentic one, a celebration of art with music, wine and people willing to interact with each other.

This is how the atelier may look like, in my opinion (and Lucio seems to confirm the inspiration).

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Lucio Forte 2009, oil on canvas (70 x 120 cm)

When I ask him how he would like to be presented, he tells me about immortality (modest!). He defines himself as an “architect deep inside the soul”, explaining that with his art he wants to create suggestions: illusionary maybe, but what gives us the opportunity to live more lives just by using the limitless power of imagination. Then, finally, we can reach immortality.

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Uomo giallo (Yellow man), 2015, oil, tempera on canvas (50 x 70 x 1 cm)

And science fiction offers a great setting for a new idea of immortality, by mixing science – the knowledge acquired by testing and proving – with its opposite and origin at the same time –fantasy. Then, everything becomes possible.

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Sottosuolo (Subsoil), 2013, oil on canvas (80 x 60 x 2 cm) from my personal collection
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Lipstick (Lipstick), 2012, mixed media on panel (78 x 70 x 2 cm)

Currently Lucio is starting a new project, Subcity Art Gallery, “a new underground  reality in the local artistic scene” where small-format selected artworks can be found at an accessible market. For the ones who may have the chance, don’t miss the opening on the 20th of September!

 

All the artworks with description and availability can be found on Artsper.

Head image: Lucio Forte 2009, mixed media on paper (21 x 30 cm)