Famous quotes

Quotes by famous people, credited to who said them. Your own quotes must not match any of these. More are added all the time. 1,158,269 quotes Who coined it · How we decide

English Italiano Polski עברית Français Português فارسی Español 中文 Русский Deutsch العربية हिन्दी 日本語 Ελληνικά Latina

Mark Rothko

34 quotes

“It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academism. There is no such thing as good painting about nothing. We assert that only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.”
Mark Rothko (1903–1970) first seen 1943 wikiquote, CC BY-SA 4.0 source
Recorded in: Joint statement with Adolph Gottlieb, to Edwin A. Jewell, often referred to as a Manifesto. (written June 7, 1943; published June 13, 1943)
“If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.. ..(they) express something real and existing in ourselves.”
Mark Rothko (1903–1970) first seen 1943 wikiquote, CC BY-SA 4.0 source
Recorded in: radio broadcast, together with Adolph Gottlieb, 1943
“For the first time a subject is present, not by virtue of its absence, but actually present, though its appearance is torn away, and only the structure bared. The Modern City! Precise, rectangular, squared, whether seen from above, below, or on the side; bright lights and sterilized life; Broadway, whites and blacks; and boogie-woogie; the underground music of the at once resigned and rebellious.. .Mondrian has left his white paradise, and entered the world. [1942, on the late painting Broadway Boogie Woogie of Piet Mondrian ]”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Rothko, in Painters Objects, Robert Motherwell, pp. 95, 96; as cited in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, (1983), pp. 128-129
“We are concerned with similar states of consciousness and relationship to the world.. .If previous abstractions paralleled the scientific and objective preoccupations of our times, ours are finding a pictorial equivalent for man's new knowledge and consciousness of his more complex inner self.”
Mark Rothko (1903–1970) first seen 1945 wikiquote, CC BY-SA 4.0 source
Recorded in: common statement in The New York Times (July 8, 1945)
“For me, Still's pictorial dramas are an extension of the Greek Persephone myth. As he himself has expressed it, his paintings are 'of the Earth, the Damned, and of the Recreated'. Every shape becomes an organic entity, inviting the multiplicity of associations inherent in all living things. To me they form a theogony of the most elementary consciousness, hardly aware of itself beyond the will to live – a profound and moving experience. [in the catalogue introduction for the first one-man-show of Clyfford Still]”
Mark Rothko (1903–1970) first seen 1946 wikiquote, CC BY-SA 4.0 source
Recorded in: in Art of this Century (February 12 – March 2, 1946), Peggy Guggenheim Papers on the work of Clyfford Still; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990)…
“I do not believe that there was ever a question of being abstract or representational. It is really a matter of ending this silence and solitude, of breathing, and stretching one's arms again transcendental experiences became possible.”
Mark Rothko (1903–1970) first seen 1947 wikiquote, CC BY-SA 4.0 source
Recorded in: in The Romantics were prompted, essay by Mark Rothko (1947/48); as quoted in Possibilities, vol 1, no. 1 (winter 1947-48), Kate Rothko Prizel and Christophor Rothko.
“The progression of a painter's work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.”
Mark Rothko (1903–1970) first seen 1949 wikiquote, CC BY-SA 4.0 source
Recorded in: In Tiger’s Eye, Vol. 1, no 9 (October 1949); as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 170
“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition.. .We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Also quoted by: Robert Motherwell
“The passions are a kind of thirst, inexorable and intense, for certain feelings or felt states. To find or invent 'objects' (which are, more strictly speaking, relational structures) whose felt quality satisfies the passions, - that for me is the activity of the artist, an activity which does not cease even in sleep. No wonder the artist is constantly placing and displacing, relating and rupturing relations; his task is to find a complex of qualities whose feeling is just right – veering toward the unknown and chaos, yet ordered and related in order to be apprehended.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Also quoted by: Robert Motherwell
“The activity of the artist makes him less socially conditioned and more humans. It is then that he is disposed to revolution. Society stands against anarchy; the artist stands for the human against society; society therefore threats him As an anarchist. Society's logic is faulty, but its intimation of an enemy is not. Still, the social conflict with society is an incidental obstacle in the artist's path.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Also quoted by: Robert Motherwell
“It is Cézanne's feeling that determined the form of his pictorial structure. It is his pictorial structure that gives off his feeling. If all his pictorial structures were to disappear from the world, so would a certain feeling.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world.. .The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Also quoted by: Robert Motherwell
“Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“But the most common error among the whole-hearted abstractionists nowadays [in 1946] is to mistake the medium for an end in itself, instead of a means. On the other hand, the surrealists erred in supposing that one can do without a medium, that in attacking the medium one does not destroy just one means for getting into the unknown. Color and space relations constitute such a means because from them can be made structures which exhibit the various patterns of reality.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“Like the Cubists before them, the abstractionists felt a beautiful thing in perceiving how the medium can, of its own accord, carry one into the unknown, that is to the discovery of new structures. What an inspiration the medium is..”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“[O]ne must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words...'. It was Marcel Duchamps who was critical, when he drew a moustache on the Mona Lisa. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”
Mark Rothko (1903–1970) first seen 1951 wikiquote, CC BY-SA 4.0 source
Recorded in: In: Interiors, Vol. 110, no 10 (May 1951); as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 172
“Since I have a deep sense of responsibility for the life my pictures will lead out in the world, I will with gratitude accept any form of their exposition in which their life and meaning can be maintained, and avoid all occasions where I think that this cannot be done.. ..unfortunately, there are few existing alternatives for the kind of activity which your museum represents. Nevertheless, in my own life at least, there must be some congruity between convictions and actions if I am to continue to function and work.”
Mark Rothko (1903–1970) first seen 1952 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Rothko's letter to Whitney's director Lloyd Goodrich, End of 1952; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press (1993), p. 304
“It's a risky business to send a picture out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent who could extend their affliction universally!”
Mark Rothko (1903–1970) first seen 1956 wikiquote, CC BY-SA 4.0 source
Recorded in: As quoted in Conversations with Artists (1957) by Selden Rodman, p. 92; later published in 'Notes from a conversation with Selden Rodman, 1956' in Writings on Art : Mark Rothko (2006) ed. Miguel López-Remiro
“I am not an abstractionist...I am not interested in the relationships of color 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 communicate those basic human emotions...The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!”
Mark Rothko (1903–1970) first seen 1956 wikiquote, CC BY-SA 4.0 source
Recorded in: In: Conversations with Artists, Selden Rodman, New York Devin-Adair (1957). p. 93.; reprinted as 'Notes from a conversation with Selden Rodman, 1956', in Writings on Art: Mark Rothko (2006) ed. Miguel López-Remiro p. 11…
“I hope to paint something that will ruin the appetite of every son of a bitch who ever eats in that room.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: As quoted in The New Yorker (April 5, 2010), p. 26
“[the first ingredient of his work]... is a clear preoccupation with death - intimations of mortality.”
Mark Rothko (1903–1970) first seen 1958 wikiquote, CC BY-SA 4.0 source
Recorded in: Quote from Rothko's lecture (1958) at the Pratt Institute; as cited in Mark Rothko, a biography, James E. B. Breslin, University of Chicago Press (1993), p. 28
“[I]t was with the utmost reluctance that I found the figure could not serve my purposes...But a time came when none of us could use the figure without mutilating it. [his quote in 1959, looking back to the 1930s]”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: As quoted in Abstract Expressionism, Davind Anfam, Thames and Hudson, London (1990), p. 143
“A painting is not a picture of an experience; it is an experience.”
Mark Rothko (1903–1970) first seen 1959 wikiquote, CC BY-SA 4.0 source
Recorded in: As quoted in "Mark Rothko", Dorothy Seiberling in LIFE magazine (November 16, 1959), p. 82
“One does not paint for design students or historians but for human beings, and the reaction in human terms is the only thing that is really satisfactory to the artist. [in conversation with W.C. Seitz]”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Quote of Rothko in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts (1983), p. 116
“[I am] dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Abstract Expressionism, David Anfam, Thames and Hudson Ltd London (1990), p. 81
“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures.. ..these new shapes say.. ..what the symbols said. [Rothko, explaining Seitz his new way of painting during the mid-1940s]”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, (1983), p. 142
“I will say without reservations that from my point of view there can be no abstractions. Any shape or area that has not the pulsating concreteness of real flesh and bones, its vulnerability to pleasure or pain is nothing at all. Any picture that does not provide the environment in which the breath of life can be drawn does not interest me.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: letter to Clyfford Still, undated; as quoted in Mark Rothko : A Biography (1993), James E. B. Breslin / and Abstract Expressionism, Creators and Critics, ed. Clifford Ross, Abrams Publishers New York (1990), p. 170
“The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental. The unfriendliness of society to his activity is difficult for the artists to accept. Yet this very hostility can act as a lever for true liberation.. .Both the sense of community and of security depend on the familiar. Free of them, transcendental experiences become possible.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“I think of my pictures as dramas; the shapes in the pictures are the performers. They have been created from the need for a group of actors who are able to move dramatically without embarrassment and execute gestures without shame. Neither the action nor the actors can be anticipated, or described in advance. They begin as an unknown adventure in an unknown space.. .Ideas and plans that existed in the mind at the start were simply the doorway through which one left the world in which they occur. The great cubist pictures thus transcend and belie the implications of the cubist program.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“The most important tool the artist fashions through constant practice is the faith in his ability to produce miracles when they are needed. Pictures must be miraculous; the instant one is completed, the intimacy between the creation and the creator is ended. He is an outsider. The picture must be for him, as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an eternally familiar need.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“With us the disguise must be complete. The familiar identity of things has to be pulverized in order to destroy the finite associations with which our society increasingly enshrouds every aspect of our environment.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source
“Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.”
Mark Rothko (1903–1970) said by 1970 at the latest wikiquote, CC BY-SA 4.0 source