Quote

I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.

Mark Rothko

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Mark Rothko
Age: 66 †
Born: 1903
Born: September 25
Died: 1970
Died: February 25
Artist
Drawer
Painter
University Teacher
Dvinsk
Marcus Rothkowitz
Ones
Painted
Cases
Floor
High
Hang
Rather
Pictures
Often
Particularly
Also
Lows
Way
Case
Feasible
Close
Largest

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To me art is an adventure into an unknown world, which can be explored only by those willing to take the risk.
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The abstract artist has given material existence to many unseen worlds and tempi.
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I am here to make you think. . . . I am not here to make pretty pictures!
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My art is not abstract, it lives and breathes
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I'm interested only in expressing basic human emotions. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate these basic human emotions.
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Without monsters and gods, art cannot enact a drama.
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There is no such thing as good painting about nothing.
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The reason for my painting large canvases is that I want to be intimate and human.
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It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.
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A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer
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Small pictures since the Renaissance are like novels large pictures are like dramas in which one participates in a direct way.
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The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
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Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.
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If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.. ...(they) express something real and existing in ourselves.
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The picture must be... a revelation, an unexpected and unprecedented resolution of an eternally familiar need.
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Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.
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The reason for my painting large canvases is that I want to be intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.
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The myth holds us, therefore, not through its romantic flavor, not the remembrance of beauty of some bygone age, not through the possibilities of fantasy, but because it expresses to us something real and existing in ourselves, as it was to those who first stumbled upon the symbols to give them life.
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I will say without reservations that from my point of view there can be no abstractions. Any shape or area that has not the pulsating concreteness of real flesh and bones, its vulnerability to pleasure or pain is nothing at all. Any picture that does not provide the environment in which the breath of life can be drawn does not interest me.
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And last, it may be worthwhile trying to hang something beyond the partial wall because some of the pictures do very well in a confined space.
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