font-size: 10px; This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. 10 (Rothko) Language; Watch; Edit; No. Painted the same year as he began the Seagram Murals, No. His fellow artist Adolph Gottlieb lamented, “If we profess kinship to the art of primitive man, it is because the feelings they expressed have a particular pertinence today.
If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. ), Writings on Art: Mark Rothko, 2006, p. 125). signed twice, titled and dated three times '#10 1958 MARK ROTHKO 1958 MARK ROTHKO 1958' (on the reverse) Stay safe and healthy. 5.9 The artist's son Christopher Rothko on No. “I am interested only in expressing basic human emotions, “Rothko once said. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). No. May 22, 2018 - lilacs and wild geese — dailyrothko: Mark Rothko, No 10, 1952. 10 is a testament to the artist’s declaration that “the picture lives by companionship.” Its unique sense of luminescence, which has been likened to heat radiating off a canvas, must be experienced to be fully understood. “…to provide access to hidden but immanent truths of the universe—not merely to struggle with that transcendence, those truths (what would be a doubter’s way), but to actually convey them. Estate of the Artist, 1970 Number 10, (1950) by Mark Rothko Courtesy of www.Mark-Rothko.org: By 1950 Rothko had reduced the number of floating rectangles to two, three, or four and aligned them vertically against a colored ground, arriving at his signature style. For Rothko, in an interpretation that we can scarcely fathom now, a picture could offer immediate access to the divine. In No. The reason for such a dramatic turnaround is the stuff of legend and while the exact cause may never be known, the result was a body of work that has been held up to be the pinnacle of Rothko’s career, the true manifestation of Rothko’s artistic rasion-d’etre. of color that softly and subtly merge into one another. Whilst it may not possess the narrative drama of Caravaggio’s The Martyrdom of St. Matthew (San Luigi dei Francesi, Rome) or Artemisia Gentileschi’s Judith Beheading Holofernes (Uffizi, Florence) the emotional drama that plays out across the surface of No. ), Seeing Rothko, Los Angeles, 2002, p. 110). On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale.