The artist invites the spectator to take a journey within the realm of the canvas.
So wrote Mark Rothko, in a manuscript that he worked on in the early 1940s, while he took a break from painting. At that time his pictures were figurative, later he experimented for a few years with a form of surrealism, before developing the large abstract colour paintings for which he became famous. He is an artist whose work we tend to discover in reverse chronological order: the late works are the most familiar, and the transitional experiments in surrealism and abstraction are somewhat better known that his figurative work. Despite these radical changes in form and scale, his work pursues a consistent theme, namely his determination to draw our attention to the sorrow and suffering that is central to our experience of life. Rothko’s abandonment of figuration midway through his career, was not an abandonment of interest in the human, rather it was his attempt to depict the full range of human experience, and especially our experiences of unhappiness, more convincingly.
Rothko’s manuscript, The Artist’s Reality, was published in 2004, more than thirty years after his death by suicide. Like Paul Gaugin’s Recontars de Rapin, written in 1903 but not published until 1951, Rothko’s attack on contemporary art criticism is heartfelt and persuasive, but his ability to explain in words the meaning and importance of his art is less convincing. Gauguin and Rothko were both great painters, but neither were great writers. Nonetheless, their texts do tell us something about the questions that concerned them, the problems that they tried to address, the ideas that motivated them. Knowing this helps us better to understand their most compelling paintings.
Continue reading “Simply colour”