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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.

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
Something
Beyond
Space
Lasts
Partial
Last
Confined
May
Worthwhile
Wells
Hang
Well
Pictures
Trying
Wall

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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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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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There is no such thing as good painting about nothing.
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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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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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There is more power in telling little than in telling all.
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My art is not abstract, it lives and breathes
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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.
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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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We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless.
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(I am) dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.
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There is only one thing I fear in life, my friend: One day, the black will swallow the red.
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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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A painting is not a picture of an experience, but is the experience.
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The reason for my painting large canvases is that I want to be intimate and human.
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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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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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