#Mark Rothko - Sienna

[lemuseum]

[eternal--returned]

The Renaissance painter's heroic efforts became very much his own struggle, an ultimate quest to create an artistic language that expressed unified truths in a world that was becoming ever more fragmented with each passing day. Arguably, Rothko's classic work represents an attainment of that goal, but at the time he was writing The Artist's Reality, the language of those works was still ten years away. I will add that even with the development of his abstract vocabulary, this continual effort did not cease. In fact, it was played out in every painting, as my father sought, again and again, a new path toward capturing essential truths. Anyone who things Rothko found a formula in 1949, which he simply applied and reapplied for the next twenty years, has not looked very closely at the work, or listened to the distinct accent with which each painting speaks. Those differences, the product of his constant search for 'unity', could hardly be more patent in three works from the same year, 1963 [see below]. The forms, the color balances, the means he uses to bring light to otherwise dark works, the degrees of layering, depth, openness and expansiveness, could hardly be more different in these three musing, deep-toned works. Clearly, rectangles can speak in varied voices, carrying disparate messages.

Christopher Rothko ֍ "Rothko and the Resonance of History." Toward Clarity (2019)

Mark Rothko ֍ Untitled (White, Blacks, Grays on Maroon) (1963)

Mark Rothko ֍ No. 7 (Dark Brown, Gray, Orange) (1963)

Mark Rothko ֍ No. 10 (Brown, Black, Sienna on Dark Wine) (1963)

[the-cricket-chirps]

Mark Rothko

Black on Dark Sienna on Purple

1960

[dailyrothko]

Mark Rothko, Untitled (Sienna, Orange and Black on Dark Brown),1962-3

© 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS)

[justthishumanheart]

Mark Rothko, Black on Dark Sienna on Purple (1960)

[artist-mark-rothko]

Black on Dark Sienna on Purple, 1960, Mark Rothko

[easeupkid]

blue, violet rose, and burnt sienna for the asks!! 🎨

hehehehehehe

blue; what’s the most recent dream you remember?

i haven't been having a lot of like vivid dreams recently, but i had one a few weeks back where i was back at my high school and they turned the basketball court into a pool and there was pool party?? and i was stressed about like my renaissance lit class or something like that?? it was wack

violet rose; what does your dream house look like?

hmmmm i've always just kind of wanted to live in a nice, cozy apartment with lots of plants and also butter yellow tile in either the kitchen or the bathroom lol i'm not that particular

if i were to own a house though i would def want it to be a midcentury modern i love midcentury modern houses so much esp if they have period accurate furniture <3

burnt sienna; is there a painting that brings you peace when you look at it?

THERE ARE MANY here are a couple:

bather preparing to dive (gustave caillebotte)

goldfish (henri matisse)

untitled, 1968 (mark rothko)

[yama-bato]

Mark Rothko

NO. 6/SIENNA, ORANGE ON WINE

,                                                            1962                                                                    

                                                           Oil on canvas

[epifizz]

Black on Dark Sienna on Purple, Mark Rothko (1960)

[fckingqueenbabe]

Hogwarts Art: Gryffindor – Abstract Expressionism

Black Sienna - Franz Kline

Reconstructed Landscape No. 9 - Mao Lizi

Red, Blue, And Yellow Geometric Abstract - Steve Johnson

Untitled XXXIII - Willem de Kooning

Unknown Title - Michael Chase

Blueberry Eyes - Franz Kline

Number 14 - Mark Rothko

Limanora - Frank Stella

[whereiseefashion]

Match #386

Details at Schiaparelli Haute Couture Fall 2017 | No. 12 (Black on Dark Sienna on Purple) by Mark Rothko, 1960

More matches here

[goncharmariia]

"In the Studio: Postwar Abstract Painting" by MoMA New York on Coursera.

[EN] 02/08/2020, Mariia Alexandrovna Gonchar has successfully completed "In the Studio: Postwar Abstract Painting" an online non-credit course authorized by The Museum of Modern Art and offered through #Coursera. https://www.coursera.org/api/certificate.v1/pdf/5BLPMPN34PH9 

[RU] Это был интересный опыт написания заявления для получения финансовой помощи от Coursera на изучения курса "In the Studio: Postwar Abstract Painting" от MoMA New York. Не пра��тиковавши абстрактную живопись до этого времени, мне предстоит изучить углубленный, практический взгляд на материалы, методы и мышление семи художников Нью-Йоркской школы, включая Виллема де Кунинга, Яёи Кусамы, Агнес Мартин, Барнетта Ньюмана, Джексона Поллока, Эда Рейнхардта и Марка Ротко; выполнить эскизные работы, ну и конечно получить официальный сертификат. #Coursera ; #MoMA ; #CoreyDAugustine ; #PostwarAbstractPainting ; #IntheStudio

[UA] Це був цікавий досвід написання заяви для отримання фінансової допомоги від Coursera на вивчення курсу "In the Studio: Postwar Abstract Painting" від MoMA New York. Хоч би й не пр��ктикувала абстрактний живопис до цього часу, мені треба буде вивчити поглиблений, практичний погляд на матеріали, методи і мислення семи художників Нью-Йоркської школи, включаючи Віллема де Кунінга, Яеї Кусама, Агнес Мартін, Барнетта Ньюмана, Джексона Поллока, Еда Рейнхардта і Марка Ротко ; виконати ескізні роботи, ну і звичайно отримати офіційний сертифікат.

[EN] It was an interesting experience of writing an application for financial assistance from Coursera to study the course "In the Studio: Postwar Abstract Painting" from MoMA New York. Having not practiced abstract painting before this time, I have to study an in-depth, hands-on look at the materials, techniques, and thinking of seven New York School artists, including Willem de Kooning, Yayoi Kusama, Agnes Martin, Barnett Newman, Jackson Pollock, Ad Reinhardt, and Mark Rothko; to make sketches and carry out conceptual artworks, and of course to get an official certificate.

1. [EN] Barnett Newman studio exercise.

I took commercially-primed linen duck canvas and prepared three forms of tripled cardboard in dimensions 10,5x15cm on which canvas was stretched. I chose acrylic paint for studies by Rubens Atelier produced by Nerchau in tube, the Burnt Umber Color. I applied several coats of paint with artistic knife and left the paint to dry. This allowed to create textured surfaces that will be covered with thin layers of yellow, orange, red acrylic paints with help of a flat rectangular brush. Pieces of adhesive tape were pasted with one straight face and a second curved face on three canvases. Three canvases were covered with thin layers of acrylic paints alternately with the drying period of the previous layer of paint. Adhesive tape was removed from three mini canvases and inside the fragment of the Burnt Umber Color two pieces of adhesive tapes were glued on both sides of each canvas, which were filled and textured inside with black acrylic paint using a palette knife. I used Polycolor 3D Maimeri heavy acrylic paints in glass bottles. Additionally white color acrylic “zips” were added on each canvas. 

3. [EN] Willem de Kooning Studio Exercise.

I took commercially-primed linen duck canvas and prepared a form of tripled cardboard in dimensions 15x21cm on which canvas was stretched. I mixed in separated forms of oil paints Sky Blue, Cadmium Yellow Deep produced by Classico, Cadmium Purple produced by Nevskaya Palitra St-Petersburg with Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo each oil paint. I applied oil paints on canvas with a flat rectangular brush. I made black expressive lines with Water-based pearlescent guttas by Lefranc&Bourgeois. I put Naples Yellow Reddish, Cinnabar Green Yellowish, King’s Blue Light produced by Classico with artistic knife on canvas. I mixed in plastic glass oil painting Cadmium light red by Pebeo with Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo and put it on canvas with flat rectangular brush. I made action movements with artistic knife on canvas. I left canvas to dry. I put on canvas oil paints Titanium White by Pebeo and Ivory Black by Classico from a tube with the help of an artistic knife. I left canvas to dry. I made black expressive lines with Water-based pearlescent guttas by Lefranc&Bourgeois.

4. [EN] Jackson Pollock Studio Exercise

I took commercially-primed linen duck canvas and prepared a form of tripled cardboard in dimensions 15x21cm on which canvas was stretched. I applied from tube oil paint Naples Yellow Reddish produced by Classico on canvas. I took oil painting Cadmium light red by Pebeo and mixed it in a plastic glass with solvent, Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo. I took oil paint Cinnabar Green Yellowish by Classico and mixed it in a plastic glass with solvent, Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo. I started dropping. I left the canvas to dry. I dripped on canvas oil paints Sky Blue produced by Classico and Cadmium Purple produced by Nevskaya Palitra St-Petersburg which were highly dissolved in mineral spirit. I left canvas to dry. I mixed separately in plastic glasses oil paints Ivory Black by Classico and Raw Sienna by Nevskaya Palitra St-Petersburg with solvent, Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo. I actively poured the resulting solute onto the canvas from each plastic glass. I left the canvas to dry. I mixed Cadmium Yellow Deep by Classico with siccatif de courtrai by Pebeo in plastic glass and spilled paint on canvas. I dripped on canvas a mixture of Cobalt Violet (Hue) by Classico with siccatif de courtrai by Pebeo. I left the canvas to dry. I dripped on canvas of Cobalt Blue Light (Hue) by Classico with siccatif de courtrai by Pebeo. I left the canvas to dry.

 5. [EN] Mark Rothko Studio Exercise

I took commercially-primed linen duck canvas and prepared a form of tripled cardboard in dimensions 10,5x15cm on which canvas was stretched. I mixed in plastic glass  oil painting Cadmium light red by Pebeo  with Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo and put it entirely with covering movements on canvas with flat rectangular brush. On the other side of the canvas, I put Cadmium Purple produced by  Nevskaya Palitra St-Petersburg  highly dissolved in mineral spirit on oil painting Cadmium light red. I left the canvas to dry. I mixed in plastic glasses oil paints Ivory Black  by Classico with Rubens Damas varnish by Nerchau, siccatif de courtrai by Pebeo. I took  flat rectangular brush and applied paint imitating the technique and composition of the artist. I mixed Cobalt Violet (Hue) by Classico with  siccatif de courtrai by Pebeo and paint first rectangular on canvas with flat rectangular brush. I took Cadmium Yellow Deep by Classico from the tube and paint second rectangular on canvas the flat rectangular brush. I blurred the edges of the rectangles with a rag. I left canvas to dry. I covered rectangles with new layers of  Cadmium Yellow Deep by Classico and Cobalt Violet (Hue) by Classico from tubes with on canvas with flat rectangular brush. I used rag to blurred edges of rectangles. I left canvas to dry.

I stretched commercially-primed cotton with polymer duck canvas on prepared form of  tripled cardboard in dimensions 15x21cm. I covered a canvas with mixture of oil paints Cadmium light red and Titanium White by Pebeo,  Ivory Black by Classico with solvent and  siccatif de courtrai by Pebeo with a help of flat rectangular brush. I used oil paint Permanent Red Orange by  Classico and acrylic paint Orange Yellow to paint rectangles. I used rag to blurred edges of rectangles. I left canvas to dry. I put oil paint Cadmium Orange by Classico from tube on canvas and used rag to blurred edges of rectangles. I left canvas to dry. I paint new layers of  Cadmium Orange by Classico and Permanent Red Orange  on canvas. I used rag to blurred edges of rectangles. I left canvas to dry.

6. [EN] Agnes Martin Studio Exercise.

I took a chance to make a contemporary interpretation of the work by Agnes Martin on transparentized paper. The work “Untitled, 1978” was a kind of inspiration. I prepared a square of decorative transparentized paper with dimensions 23.1x23,3 cm. I made pencil drawing with a large horizontal division. The horizontal lines were shaded with fusains charcoals produced by Conte a Paris.

7. [EN] Ad Reinhardt Studio Exercise

I stretched commercially-primed cotton canvas on prepared form of  tripled cardboard in dimensions 15x21cm. I followed the paints’ preparation recommendations and mixed yellow, blue, red oil colors with Ivory Black by Classico and solvent, left three little containers for a week. I completed the grid dividing the canvas into 9 parts. The lower and upper middle rectangles were filled with a mixture of yellow and black oil paints. The lower and upper side rectangles, and the central were filled with a mixture of red and black oil paints. The side median rectangles were filled with a mixture of blue and black oil paints. I left canvas to dry during layering.

I took commercially-primed cotton canvas and prepared two forms of tripled cardboard in dimensions 10,5x15cm on which canvas was stretched. The first canvas was divided horizontally into three parts and the second was divided vertically into three parts. Canvases were painted with recommended mixtures of black oil paints with  yellow, red, blue oil colors respectively.

8. [EN] I stretched commercially-primed cotton with polymer duck canvas on prepared form of  tripled cardboard in dimensions 15x21cm. I mixed Black acrylic gloss paint by Decola with a little portion of Red Acrylic colour by Louvre, LeFranc&Bourgeois. I put two layers of mixed color on canvas with  flat rectangular brush taking into account the drying period. I made mark brushwork using Deep Yellow Polycolor 3D fine acrylic colour by Maimeri and imiating Yayoi Kusama's “Infinity Nets Yellow” 1960’s painting.

[astromance1982]

Me on "Black on Dark Sienna on Purple" (Mark Rothko) . . #MarkRothko #MarkRothkoArt #Art #Artwork #Painting #MOCA #LosAngeles #StreetPhotography #SamsungGalaxyS9Photography #S9Photography (at MOCA | The Museum of Contemporary Art, Los Angeles) https://www.instagram.com/p/B0ver7iHD_8/?igshid=xdjnjsssgpqa

[dailyrothko]

Mark Rothko, No. 12 (Black on Dark Sienna on Purple), 1960, Oil on canvas120 1/8 x 105 ¼ in.

© Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS)      

[secretgeometry]

Mark Rothko (American, 1903-1970). Top to bottom:

Untitled 1952. Oil on canvas, 103 x 62 1/2 inches. Source.

Untitled (Lavender and Green) 1952. Oil on canvas, 67.5 x 44.5 inches. Source.

Black on Dark Sienna on Purple 1960. Oil on canvas, 120 x 105 inches. Museum of Contemporary Art, Los Angeles. Source.

Rothko Chapel, Houston, Texas. Paintings executed 1964-1967. Source.

Mark Rothko’s name kept coming up as I searched for examples of violet, lavender, and purple in abstract painting. His colors photograph poorly, and some of his pigments have changed over time. With the darker late work, in particular, it is difficult to identify certain colors. The purple mentioned in the title of the 1960 painting reads brownish on my screen. It is possible that the color has faded, but it is also possible that he mixed cadmium red with a blue pigment, as we did in class, to get that odd color. I’ve never been to Rothko Chapel, but the last image, from the Chapel’s website, seems to confirm the description I’ve read of dark, plummy colors on some of the canvases.

[artist-mark-rothko]

Black on Dark Sienna on Purple, 1960, Mark Rothko