Mark Rothko: A Journey into Depth and Colour

Mark Rothko (1903-1970) is regarded as one of the most significant artists of the twentieth century. His work, characterised by large fields of intense, saturated colours and profound emotional depth, transcends the conventions of Abstract Expressionism and offers viewers an experience of space, silence, and introspection. Rothko’s art and philosophy were shaped by a life marked by inner conflict, a search for meaning, and an intense passion for colour and light.

Source: Carré d'Artistes

Early Years: From Russia to the New World

Mark Rothko was born Marcus Rothkowitz in Dvinsk, Russia (now Latvia). In 1913, his family emigrated to the United States, fleeing antisemitism and pogroms. They settled in Portland, Oregon, where young Marcus quickly discovered the world of art. His upbringing in a religious and culturally diverse family would have a profound influence on his work and philosophy. In his later paintings, especially, one can sense a spiritual dimension that harks back to his religious roots.

An early anecdote illustrates Rothko’s determination to overcome the language barrier. When he arrived in Portland as a young boy, he spoke little English. School was initially challenging, but Rothko quickly picked up the language and excelled academically. He developed a sharp mind and a love for learning, traits that remained with him throughout his life, and would later be reflected in his ideas about art and philosophy.

Rothko pursued several studies, but it was his time at the Art Students League in New York that truly launched his artistic career. His early work was heavily influenced by the expressive power of figurative art, and he painted primarily social and political themes. These works reveal his deep concern for humanity and human suffering, laying the groundwork for his later abstract work, which focused on the essence of human emotion.

Artistic Development: From Figuration to Abstraction

During the 1930s, Rothko began to distance himself from figurative painting. During this period, he met fellow artists such as Barnett Newman and Adolph Gottlieb, who were similarly fascinated by abstraction and the potential of form and colour. They sought to break away from traditional painting and search for a more universal language. For Rothko, art was not a means to represent the visible world but to reveal the inner world.

During this quest for abstraction, Rothko was inspired by the Surrealists, who used archetypal imagery to access the subconscious. He felt a strong affinity with their pursuit of deeper emotions and meaning. His works from this period are filled with biomorphic shapes floating in empty space—forms that suggest the human figure but lack the recognisable contours of traditional figuration.

At this time, Rothko was also deeply influenced by Friedrich Nietzsche’s The Birth of Tragedy. He read it repeatedly, finding parallels between Nietzsche’s views on human nature and his own perspective on art. Rothko believed that art should confront the viewer with existential themes such as suffering and ecstasy. His work increasingly became an attempt to capture these universal emotions and establish a direct connection with the human soul.

Rothko’s Breakthrough: The Development of ‘Colour Fields’

In the 1940s and 1950s, Rothko developed his signature style of ‘colour fields’: large rectangles of intense, saturated colours that appear to extend beyond the edges of the canvas. Works such as No. 61 (Rust and Blue) and White Center consist of expansive colour fields that seem to envelop the viewer, inviting them to immerse themselves fully in the experience. Rothko refused to label his work as abstraction, instead describing it as a “window” into the human soul. For him, colour was the vehicle through which he could convey feelings of tragedy, ecstasy, and annihilation.

One anecdote from this period highlights his commitment to creating the ideal environment for his paintings. Rothko gave strict instructions regarding how his works should be displayed. He insisted that his paintings be shown in small, enclosed spaces, lit with soft, dim light, and free from distracting sounds. When he was invited to exhibit his work in a large hall, he demanded walls be built to reduce the space, creating a more intimate setting. For Rothko, the experience of his art was almost religious; the paintings were to be viewed in a setting that would lead the viewer into a contemplative state.

Philosophy of Art: Colour, Light, and Depth

Rothko’s philosophy of art was closely tied to his personal beliefs. He saw art as a way of expressing the deepest emotions and ideas—feelings that went beyond words. In his posthumously published book, The Artist's Reality: Philosophies of Art, Rothko shares his views on art and aesthetics. He believed that art should hold a universal, almost mythical dimension, confronting the viewer with existential themes. He wanted his paintings to offer an “absolute” experience that drew the viewer deeply into themselves.

Rothko believed that his works should serve as “open windows” or “portals to the absolute.” He was meticulous about the arrangement of his paintings, often giving detailed instructions to museums and galleries. To Rothko, each painting was its own world, a space in which the viewer could feel their deepest emotions without the distraction of recognisable forms or images.

Rothko as a Person: Depth, Struggles, and Family

Rothko’s personal life was complex and, at times, turbulent. Known as a charismatic yet introspective man, he frequently struggled with depression and feelings of existential loneliness. His intense dedication to his work made him difficult to approach at times. In Mark Rothko: From the Inside Out, his son Christopher Rothko describes his father as an emotionally intense and vulnerable man, constantly balancing between his role as a father and his obsessive commitment to his art.

An anecdote shared by his daughter Kate Rothko recalls an evening when Rothko took his children to his studio to show them one of his new paintings. He asked them to stand silently before it and “dive in.” His children remember how their father wanted them to feel the colours and lose themselves in the painting as though it could transport them to another world. This moment reflects Rothko’s belief that his art was not merely a visual experience but a gateway to a realm of emotion and mystery.

The Seagram Murals: A Story of Conflict and Tragedy

One of Rothko’s most fascinating projects was the commission for the Seagram Building in New York. He was asked to create a series of paintings for an upscale restaurant in the building. Initially, Rothko saw this project as an opportunity to integrate his work into a space that would completely surround and engulf the viewer, offering them a total experience. But as the work progressed, Rothko became increasingly uncomfortable with the idea of his paintings serving as mere decoration for dining patrons.

According to Mark Rothko: A Biography by James E.B. Breslin, Rothko eventually decided not to deliver the works. He withdrew from the project because he felt his paintings did not belong in the commercial setting of a restaurant. The Seagram Murals were eventually donated to museums, including the Tate Gallery in London, where they were given their own room. This story reflects Rothko’s uncompromising vision and commitment to his artistic ideals.

The Final Years: Darker Colours and Inner Struggles

During the 1960s, Rothko’s work took a darker turn. His use of colour became more subdued, and his paintings, such as those in the “Black on Grey” series, took on a melancholic tone. He maintained the same technique, with layers of paint and subtle colour transitions, but the choice of darker colours and minimal compositions reflected his inner turmoil.

Rothko’s health began to deteriorate, both physically and mentally. He suffered from severe heart problems and struggled with increasing depressive symptoms. In 1970, at the age of 66, Rothko took his own life in his studio. His death was a shock to the art world, which had lost one of its most passionate and introspective voices.

Legacy: A Spiritual Heritage of Colour and Form

Mark Rothko's legacy is deeply embedded in modern art. His paintings not only provide a visual experience but invite the viewer on an inner journey. Rothko’s work continues to inspire people worldwide, demonstrating the power of art to evoke emotions without words or recognisable imagery.

Across museums globally, Rothko’s works remain a source of fascination for viewers who seek to immerse themselves in the rich layers of his colour fields. His vision endures as a reminder of the power of art to enrich and transform the human experience.

Sources:

• "Mark Rothko: A Biography" by James E.B. Breslin

• "The Artist's Reality: Philosophies of Art" by Mark Rothko

• "Mark Rothko: From the Inside Out" by Christopher Rothko

• "Mark Rothko" by Annie Cohen-Solal

• "Mark Rothko" by Franz Kaiser

• "Mark Rothko: The Decisive Decade 1940-1950" by Bradford R. Collins

• "Mark Rothko: The Works on Canvas" by David Anfam

• "Mark Rothko: A Retrospective" by Oliver Wick