Mark Rothko art paintings quotes

Mark Rothko moved through many artistic styles until reaching his signature 1950s motif of soft, rectangular forms floating on a stained field of color. Heavily influenced by mythology and philosophy, he was insistent that his art was filled with content, and brimming with ideas. A fierce champion of social revolutionary thought, and the right to self-expression, Rothko also expounded his views in numerous essays and critical reviews. 

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Highly informed by Nietzsche, Greek mythology, and his Russian-Jewish heritage, Rothko's art was profoundly imbued with emotional content that he articulated through a range of styles that evolved from figurative to abstract.
Rothko's early figurative work - including landscapes, still lifes, figure studies, and portraits - demonstrated an ability to blend Expressionism and Surrealism. His search for new forms of expression led to his color field paintings, which employed shimmering color to convey a sense of spirituality.
Rothko maintained the social revolutionary ideas of his youth throughout his life. In particular he supported artist's total freedom of expression, which he felt was compromised by the market. This belief often put him at odds with the art world establishment, leading him to publicly respond to critics, and occasionally refuse commissions, sales and exhibitions.
artstory




MARK ROTHKO QUOTES

If you are only moved by color relationships [in my paintings], you are missing the point. I am interested in expressing the big emotions - tragedy, ecstasy, doom.

Since my pictures are large, colorful, and unframed, and since museum walls are usually immense and formidable, there is the danger that the pictures relate themselves as decorative areas to the walls.

We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.

The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.

3D Animation for Alberto Giacometti the surreal artist

Here is A beautiful 3d animation about Alberto Giacometti the great surreal artist

Eternal Gaze 3D

Find more about him here:

alberto-giacometti-surreal-art

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here:

Introduction to :

Alberto Giacometti surreal art

Alberto Giacometti's remarkable career traces the shifting enthusiasms of European art before and after the Second World War. As a Surrealist in the 1930s, he devised innovative sculptural forms, sometimes reminiscent of toys and games. And as an Existentialist after the war, he led the way in creating a style that summed up the philosophy's interests in perception, alienation and anxiety.

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Although his output extends into painting and drawing, the Swiss-born and Paris-based artist is most famous for his sculpture. And he is perhaps best remembered for his figurative work, which helped make the motif of the suffering human figure a popular symbol of post-war trauma.

by atrstory

Giacometti's work of the 1930s represents probably the most important contribution to Surrealist sculpture.

In an effort to explore themes derived from Freudian psychoanalysis, like sexuality, obsession and trauma, he developed a variety of different sculptural objects. Some were influenced by primitive art, but perhaps most striking were those that resemble games, toys, and architectural models. They almost encourage the viewer to physically interact with them, an idea which was very radical at the time.

Both of the important phases of Giacometti's career yielded innovations that influenced a wide range of artists. His Surrealist sculpture of the 1930s, for instance, influenced Henry Moore, partly inspiring the Surrealism that would be such an important component of Moore's practice throughout his life. It is certainly hard to imagine Moore's own innovative experiments in the 1930s without Giacometti's example. And Giacometti's figurative work was vital in re-establishing the figure as a viable motif in the post-war period, at a time when abstract art dominated. His spindly bronze figures, which appear punctured and fragile, compressed in space, are in many respects visual manifestations of Existentialist thought, emblems of the condition of modern humanity ravaged by doubt.

SOME ALBERTO GIACOMETTI QUOTES

"Let me know how to make only one and I will be able to make a thousand.

"Just the same, if I begin my statue, as they do, with the tip of the nose, then an infinity of time will not be too much before I get to the nostrils."

"When I make my drawings ... the path traced by my pencil on the sheet of paper is, to some extend, analogous to the gesture of a man groping his way in the darkness."

"All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life."

My Own contributory Photo series to ALBERTO GIACOMETTI.

I made this series about a year ago.

Abstract art and Abstract Expressionism

Abstract Expressionism was never an ideal label for the movement which grew up in New York in the 1940s and 1950s. It was somehow meant to encompass not only the work of painters who filled their canvases with fields of color and abstract forms, but also those who attacked their canvases with a vigorous gestural expressionism. But it has become the most accepted term for a group of artists who did hold much in common.

by artstory

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All were committed to an expressive art of profound emotion and universal themes, and most were shaped by the legacy of Surrealism, a movement which they translated into a new style fitted to the post-war mood of anxiety and trauma. In their success, the New York painters robbed Paris of its mantle as leader of modern art, and set the stage for America's post-war dominance of the international art world.

Surrealism

The most significant influence on the themes and concepts of the Abstract Expressionists was Surrealism. The American painters were uneasy with the overt Freudian symbolism of the European movement, but they were inspired by its interests in the unconscious, as well as its strain of primitivism and preoccupation with mythology. Many were particularly interested in the ideas of the Swiss psychiatrist Carl Jung, who believed that elements of a collective unconscious had been handed down through the ages by means of archetypal symbols - primordial images which had become recurrent motifs. This gave many artists the impetus to move away from the biomorphic Surrealism of Miró and Picasso, and towards an increasingly reductive style. Rothko and Newman are typical of this progress: Rothko experimented with abstract symbols in the early 1940s before moving towards entirely abstract fields of color; Newman similarly sought an approach which might strip away all extraneous motifs and communicate everything through one powerfully resonant symbol - in his case, the so-called 'zip' paintings.

Like any group of artists whose work achieves widespread recognition, Abstract Expressionism was eventually imperilled by its success. An extensive network of dealers, museums and galleries reached out to support it; even the government covertly embraced it and promoted it vigorously overseas as a testament to free-expression in America, in contrast to the repressions of the Stalinist Eastern Bloc. Inevitably, by the mid 1950s, the style had attracted a multitude of young followers, and what began as an impulse to expression, threatened to become stale and academic. 

The themes and concepts which informed Abstract Expressionism may have lost the power to compel young artists, but the movement's achievements continue to supply them with standards against which to be measured. 

Artists:

Jackson Pollock


Willem De Kooning


Mark Rothko

Clyfford Still


Franz Kline


Hans Hofmann


Robert Motherwell


Barnett Newman