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Arte Moderna Ca
Pesaro, Venezia hand no. 250/500
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Mark RothkoRARE! Mark Rothko at Museo d
Arte Moderna Ca
Pesaro, Venezia hand no. 250/5001970
1970
$15,000
£11,385.77
€13,056.62
CA$21,172.42
A$22,726.60
CHF 12,100.75
MX$269,171.16
NOK 152,920.46
SEK 139,659.03
DKK 97,538.89
About the Item
Mark Rothko at Museo d'Arte Moderna Ca' Pesaro, Venezia, 1970
Offset lithograph and lithograph on high quality lithographic paper
Numbered in pencil 250/500 in the lower left front
Publisher:
Museo d'Arte Moderna Ca' Pesaro, Venezia
Frame Included: elegantly floated and framed in a museum quality white washed wood frame with UV plexiglass
This dazzling offset lithograph was published on the occasion of Mark Rothko's exhibition at the Museo d'Arte Moderna Ca' Pesaro Venezia (Venice, Italy) from June to October 1970. This was the first Memorial exhibition done after Mark Rothko took his life months earlier on February 25, 1970. This exhibition had almost 30 paintings shown in the Museo d'Arte Moderna Ca' Pesaro, in conjunction with the 35th Venice Biennale. While this lithograph is technically a poster, it is printed on fine art paper that is thicker and of so much higher quality than what is seen today; the European, 1970s craftsmanship is evident, and worthy of a major Museum retrospective of the era.
Below is an excerpt of a contemporaneous New York Times review of the exhibition:
" One would have perhaps thought that the elemental pictorial vocabulary and palette of Rothko would have sorely clashed with the opulent background of Venetian splendor. Instead, his glowing luminous rectangles superimposed on other glowing luminous rectangles were at one with their surroundings, resonating formal currents and countercurrents with them."
- David L. Shirey, The New York Times (November 21, 1970)
Measurements:
Frame:
42.75 x 29 x 2 inches
Print:
39 x 25 inches
More about Mark Rothko
Mark Rothko, a pioneer of the New York School, is one of the most significant and influential artists of the twentieth century, predominantly recognized for his mesmerizing Color-field paintings of immense scale.
Among Rothko’s artistic philosophies, he held that painting was a deeply psychological and spiritual experience through which basic human emotions could be communicated.
By the end of the 1920s, Rothko had participated in his first group exhibition at Opportunity Galleries, New York (1928), and began weekly drawing sessions with Milton Avery and Adolph Gottlieb. Rothko supported his practice during this time by teaching children at the Center Academy of the Brooklyn Jewish Center, a part-time position that he held from 1929 to 1952. Although Avery’s artistic influence was indelible, Rothko’s interaction with children also proved significant to his practice and further inspired him to simplify his mode of expression. He included a selection of his students’ work in his first one-person exhibition, held at the Museum of Art in Portland, Oregon (1933). In 1935 Rothko co-founded the independent art group "The Ten," which included Gottlieb, Louis Harris, and Ilya Bolotowsky among its members.
The decade of the 1940s represented a sea change in Rothko’s artistic style. Deriving inspiration from the European Surrealists and Jungian theory of the collective unconscious, Rothko pivoted from figuration to biomorphic and totemic imagery in myth-based works. These paintings, which occupy a position between Surrealism, abstraction, and automatism, were revealed in a seminal solo exhibition at Peggy Guggenheim’s gallery, Art of This Century (1945). Delving further into abstraction, his paintings flourished throughout the remainder of 1940s, leading to innovations that set the stage for his ensuing Color-field paintings (1949–70), devoting the remainder of his practice to this method.
Rothko’s first major retrospective, covering works from 1945 to 1960, opened at The Museum of Modern Art, New York, and traveled to London, Amsterdam, Brussels, Basel, and Rome, before closing in Paris (1961–63). The Spirit of Myth, Early Paintings From the 1930s and 1940s traveled to twenty-five locations across the United States, opening at the Cedar Rapids Museum of Art, Iowa, and closing at the Arkansas Art Center, Little Rock (1990–98).
At the height of his career, Rothko received his most prominent commission from John and Dominique de Menil in 1964. Asked to produce murals for a non-denominational chapel in Houston, Texas, Rothko created a suite of fourteen dark palette paintings for the site, which, in their meditative quality, enact a total environment. Known as the Rothko Chapel, the building was posthumously dedicated to the artist upon its inauguration in 1971.
Rothko’s stylistic explorations resulted in a proliferation of works on paper and canvas, with layered transparencies of vibrant pigments and earth tones culminating in luminous and ethereal soft-edged compositions. His approach to painting emphasized an experimental engagement with process in order to fully articulate a universal expression.
-Courtesy PACE Gallery
- Creator:Mark Rothko (1903-1970, American)
- Creation Year:1970
- Dimensions:Height: 42.75 in (108.59 cm)Width: 29 in (73.66 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement Style:
- Period:
- Condition:In very good condition; a super bright impression; with minor overall handling, corner dings wrinkling in the edges (see close up photos) - part of its vintage charm.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217515542
Mark Rothko
Mark Rothko (1903 – 1970) was an American painter of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is generally identified as an abstract expressionist. After spending two years at Yale University, he found the Yale community to be elitist and racist. He started a satirical magazine with friend Aaron Director, The Yale Saturday Evening Pest, which lampooned the school's stuffy, bourgeois tone. Despite being a diligent student, he dropped out and moved to New York City where he discovered his interest in art-making through the Art Students League of New York and Parsons The New School for Design. Through a number of stylistic evolutions and artistic influences, Rothko eventually began to define the signature work in color field studies for which he is now most famous. In 1936, Rothko began writing a book, never completed, about similarities in the art of children and the work of modern painters. According to Rothko, the work of modernists, influenced by primitive art, could be compared to that of children in that "child art transforms itself into primitivism, which is only the child producing a mimicry of himself." In this manuscript, he observed that "the fact that one usually begins with drawing is already academic. We start with color."
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