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

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The abstract artist has given material existence to many unseen worlds and tempi.
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The picture must be... a revelation, an unexpected and unprecedented resolution of an eternally familiar need.
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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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Art to me is an anecdote of the spirit.
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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.
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There is no such thing as good painting about nothing.
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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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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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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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(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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We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless.
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A painting is not a picture of an experience, but is the experience.
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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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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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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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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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Without monsters and gods, art cannot enact a drama.
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I am here to make you think. . . . I am not here to make pretty pictures!
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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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