Word: rothko
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...insane, sometimes double what the market will bear." Prices for older masterpieces are expected to hold up well. Van Gogh's Portrait of Dr. Gachet should bring more than $40 million at auction this week. Other safe bets: 20th century classics (Picasso, Matisse) and postwar Americans (Jackson Pollock, Mark Rothko). But experts think prices will soften dramatically for paintings by some young superstars (David Salle, Eric Fischl, Anselm Kiefer). Says Feigen: "No more seven-figure prices for artists barely out of their...
...Though its base was New York City, the abstract-expressionist ethos pervaded every artistic center in the U.S., including the San Francisco Bay area. There, during the late '40s, a flourishing local school had been influenced by the forceful presence of artist-teachers Clyfford Still and Mark Rothko...
...first it was an optical shimmer, a weaving of color energy on the surface, in deference to the prevalent American art theory of the day and, to some degree, in homage to Riley. The work of Mark Rothko, which Scully had seen as a student, was a presiding influence. It had shown him how a neutral and even boring form, an imperfect rectangle, could accumulate reserves of feeling and cogitation -- how the life of the mind and its tentative decisions could be embodied, not just illustrated, in pigment. And there had been a visit to Morocco in 1970; there Scully...
...large works like the Nine Clearings for a Standing Man, 1973, Wilmarth achieved the kind of grandeur of light and pared-down form that one associates with Rothko at his best, and something more: the sense of a figure, not described but evoked by a flat vertical plane, behind the glass. Even in a smaller piece like Is, Was (Chancing), 1975-76, there is a fascinating exchange between dark and light, solidity and translucency, underwritten by the economical logic of its making: a single sheet of steel cut and folded, a single plate of glass. And the cables that hold...
Unlike Louis and Noland, Frankenthaler never worked in series; each picture was, to some degree, a new start. The pleasure was in the freshness. What is the central shape so comfily enclosed within the framing edges of Buddha's Court, 1964? A fat little figure, but vaguely so; the Rothko-like bars of color could indicate someone squatting in the lotus position. Yet it cannot have started from a figure: it is the sensation of calm presence that comes off the blues, in their association with tan and brown edges, that generates the "subject" of the painting. You still feel...