After Mark Rothko - Untitled (Violet, Black, Orange, Yellow on White and Red) Vintage Fine Art Print Offset Lithography Poster 1998 90s

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Description

Original fine art offset lithography with bright colors on thick high-quality museum paper (250gr)

Artist: Mark Rothko
Artwork: Untitled (Violet, … Read more Original fine art offset lithography with bright colors on thick high-quality museum paper (250gr)

Artist: Mark Rothko
Artwork: Untitled (Violet, Black, Orange, Yellow on White and Red), Oil on canvas, 1949
The Solomon R. Guggenheim Museum New York,
Gift Elaine and Werner Dannheisser Foundation, 1978
Photo: David Heald copyright © The Solomon R. Guggenheim Foundation, New York
Copyright © 1998 Kate Rothko-Prizel & Christopher Rothko /
VG Bild-Kunst, Bonn 2004
Offset printed in 1998, Germany

MEASUREMENTS
31.49 x 23.62 inches
80cm x 60cm

ARTWORK SIZE
25.39 x 20.86 inches
64.5cm x 53cm

CONDITION: 26 years old print / Nice vivid colors
Minor signs from handling and storage
Minor yellowing on margins due to time
In excellent condition
Ready to be framed
Sold unframed


"With paintings such as Untitled (Violet, Black, Orange, Yellow on White and Red), Mark Rothko arrived at his mature idiom. For the next 20 years, he would explore the expressive potential of stacked rectangular fields of luminous colors. Like other New York School artists, Rothko used abstract means to express universal human emotions, earnestly striving to create an art of awe-inspiring intensity for a secular world.

In order to explain the power of his canvases, some art historians have cited their compositional similarity to Romantic landscape painting and Christian altar decoration. Anna Chave suggests that Rothko’s early interest in religious iconography underlies his later work. She sees a reference to a Madonna and Child in Untitled (#17), an abstract work that developed out of the Surrealistic biological fantasies that he had been painting in the early 1940s. For Chave, mature paintings such as Untitled (Violet, Black, Orange, Yellow on White and Red) metaphorically encompass the cycle of life from cradle to grave, in part by harboring an oblique reference to both adorations and entombments. The stacked rectangles may be read vertically as an abstracted Virgin bisected by horizontal divisions that indicate the supine Christ. Even without Chave’s argument, it is clear that Rothko hoped to harness the grandeur of religious painting. The principles of frontality and iconic imagery in his mature works are common to traditional altarpieces, and both formats have similar dimensions and proportions. Often larger than a human being, Rothko’s canvases inspire the kind of wonder and reverence traditionally associated with monumental religious or landscape painting.

It was Rothko’s euphoric veils of diaphanous pure color that led critics to praise him as a sensualist and a colorist, which pained him because he believed that his champions had lost sight of his serious intentions. For him, the canvases enacted a violent battle of opposites—vertical versus horizontal, hot color versus cold—invoking the existential conflicts of modernity. The Black Paintings, begun in the year before the artist’s suicide, confirm Rothko’s belief that his work encompassed tragedy. The desolation of canvases such as Untitled (Black on Grey), drained of color and choked by a white border—rather than suggesting the free-floating forms or veiled layers of his earlier work — indicates that, as Rothko asserted, his paintings are about death."
- Jennifer Blessing for Guggenheim NY

About the artist: Mark Rothko, born Markus Yakovlevich Rothkowitz (September 25, 1903 – February 25, 1970), was a Latvian-born American abstract painter. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970. Although Rothko did not personally subscribe to any one school, he is associated with the American Abstract Expressionist movement in modern art.
He believed that art was truly an expression of emotion and social circumstance, and he had a deep distrust for money and material wealth.
Although Rothko lived modestly for much of his life, the resale value of his paintings increased significantly in the decades following his death in 1970.

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