Word: rothkos
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...MARK ROTHKO'S paintings lead you into calm thought, into an atmosphere of color, that dissolves any word attempting to describe it. From surrcalistic forms his images evolved into monumental rectangles that hover on the canvas. His color is subtle and strange. Part of the Abstract Expressionist movement, his work differed radically in tone and form from the others, like Jackson Pollock and William de Kooning. The simplicity of his rectangles foresaw the purity but not the hardness of the images of minimal...
...taking ideas from Rothko, the minimal artist never came near his unique vision. Yet often in the racing movement of the avant-garde an artist may feel that his statements become irrelevant, once someone has said something newer...
Push-Pull Theory. Its variety, if not infinite, was impressive. Mark Rothko reduced his palette to the softest shades and his compositions to a pair of rectangles in tandem. That commanding teacher Hans Hofmann preached what he called the "push-pull" theory of colors in tension-and practiced it to perfection. De Kooning restored the name of action to artistic thought, slashing at his canvases with inspired passion. David Smith took the grand gesture to sculpture, mounting one stainless steel shaft upon another in marvels of cliff-hanger balance. Later artists like Ellsworth Kelly, Kenneth Noland and Frank Stella solidified...
...terrifying women. Franz Kline's huge black-on-white compositions showed no more sophistication than a Chinese ideograph, but they conveyed the energy of the man that made them-and commanded a whole wall rather than a corner of a scroll. The smoldering color clouds of Mark Rothko drew a viewer in like a smoke-filled room, where unidentified objects lurk just beyond the eye's peripheral vision...
Lingering Symbols. The dream totems and the enigmatic pictographs of the early canvases of Adolph Gottlieb, Pollock and Rothko also betrayed surrealist origin. As Curator Rubin observes, the moody, poetic, apocalyptic spirit that broods over explicitly surrealistic pictures lingers in the later, totally abstract canvases of these same artists. To emphasize this point, Rothko's Magenta, Black, Green on Orange is placed in a small, partially darkened, melancholy chapel-like gallery, while the spiky Gothic tracery of Clyfford Still's painting, 1947-J shares a gallery with four other Stills-and a spiky Gothic metal sculpture by Theodore...