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The Rothko Chapel Essay

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Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on …show more content…

Rothko was well accepted in the New York art community, but experienced limited success during this time. Needing to add to his income he took a position at the Center Academy instructing sculpture and painting and maintained this position from 1929 to 1952. As Rothko advanced in his painting style he began to metamorphose from using imagery and symbolism to using colour fields. Typically his paintings feature large rectangular expanses of colour arranged parallel to each other, usually in a vertical arrangement. The edges of these shapes are softly uneven, giving them a hazy, pulsating quality, and they seem to gently hover or float over the canvas. The paintings are often very large and the effect they produce is generally one of calmness and contemplation, but in spite of their tranquility, they cost Rothko enormous emotional effort: 'I'm not an abstract artist...I'm not interested in the relationship of colour or form or anything else. I'm interested only in expressing basic human emotions-tragedy, ecstasy, doom and so on. And the fact that a lot of people break down and cry when confronted with my pictures show that I can communicate these basic human emotions...The people who weep before my pictures are having the same religious experience as I had when I painted them ( Chilvers 515).' In 1960, for the first time, John and Dominique de Menil visited Rothko in his studio in the Bowery of New York City. They had a dream and they wanted his

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