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
Way
Case
Feasible
Close
Largest
Ones
Painted
Cases
Floor
High
Hang
Rather
Pictures
Often
Particularly
Also
Lows

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There is no such thing as good painting about nothing.
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Without monsters and gods, art cannot enact a drama.
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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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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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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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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 abstract artist has given material existence to many unseen worlds and tempi.
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If you are only moved by color relationships, you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom.
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While the authority of the doctor or plumber is never questioned, everyone deems himself a good judge and an adequate arbiter of what a work of art should be and how it should be done.
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With us the disguise must be complete. The familiar identity of things has to be pulverized in order to destroy the finite associations with which our society increasingly enshrouds every aspect of our environment.
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Many of those who are driven to this life are desperately searching for those pockets of silence where we can root and grow.
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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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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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A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent.
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A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer
Mark Rothko
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The progression of a painter’s work…will be toward clarity toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer…to achieve this clarity is, inevitably, to be understood.
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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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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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My art is not abstract, it lives and breathes
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A painting is not a picture of an experience, but is the experience.
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