This is in accordance with the time he produced this image, as other famous artists creating avant-garde abstract representations of historically significant events, such as Motherwell ’ s commemoration of the Spanish Civil War, Pollock ’ s investigation of the Northwest Coast Indian art, Rothko ’ s and Newman ’ s interpretations of Biblical stories, etc.

An illustration of Hopper ’ s influence is Rothko ’ s early work Composition I ( c. 1931 `), which is a direct paraphrase of Hopper ’ s Chop Suey.

However, in an environment where Jews were often blamed for many of the evils that befell Russia, Rothko ’ s early childhood was plagued by fear.

Like his father, Rothko was passionate about such issues as workers ’ rights and women's right to contraception.

He received a scholarship to Yale based on academic performance, but it has been suggested that Yale only made this offer in order to lure Rothko ’ s friend, Aaron Director, with a similar proposal.

It was due to Weber that Rothko began to see art as a tool of emotional and religious expression, and Rothko ’ s paintings from this era reveal a Weberian influence.

Rothko ’ s move to New York established him in a fertile artistic atmosphere.

During this time, he met Adolph Gottlieb, who, along with Barnett Newman, Joseph Solman, Louis Schanker, and John Graham, was part of a group of young artists surrounding the painter Milton Avery, fifteen years Rothko ’ s senior.

Avery ’ s stylized, natural scenes, utilizing a rich knowledge of form and color, would be a tremendous influence on Rothko.

The following summer, Rothko ’ s first one-man show was held at the Portland Art Museum, consisting mostly of drawings and aquarelles, as well as the works of Rothko ’ s pre-adolescent students from the Center Academy.

His family was unable to understand Rothko ’ s decision to be an artist, especially considering the dire economic situation of the Depression.

Having suffered serious financial setbacks, the Rothkowitzes were mystified by Rothko ’ s seeming indifference to financial necessity ; they felt he was doing his mother a disservice by not finding a more lucrative and realistic career.

It was the oils that would capture the critics ’ eye ; Rothko ’ s use of rich fields of colors moved beyond Avery's influence.

It was also during this period that Rothko, like many artists, found employment with the Works Progress Administration, a labor relief agency created under Roosevelt ’ s New Deal in response to the economic crisis.

Many other important artists were also employed by TRAP, including Avery, DeKooning, Pollock, Reinhardt, David Smith, Louise Nevelson, eight of the " Ten " artists of the dissenter group, and Rothko ’ s old teacher, Arshile Gorky.

It was a rich and complex milieu which included two important events in Rothko ’ s life: the onset of World War II, and his reading of Friedrich Nietzsche.

Rothko separated from his wife, Edith Sachar, in the summer of 1937, following Edith ’ s increased success in the jewelry business.

Despite his fame, Rothko felt a growing personal seclusion, and a sense of being misunderstood as an artist.

Though he had no formal students, many artists have cited him as an influence, including Willem de Kooning, Jim Dine, and Mark Rothko.

Returning to New York, Rothko had his first East Coast one-man show at the Contemporary Arts Gallery.

Rothko was using fields of color in his aquarelles and city scenes, and his subject matter and form at this time had become non-intellectual.

The name " Roth ," a common abbreviation, had become, as a result of its commonality, identifiably Jewish, therefore he settled upon " Rothko ".

Fearing that modern American painting had reached a conceptual dead end, Rothko was intent upon exploring subjects other than urban and natural scenes.

At the root of Rothko and Gottlieb ’ s presentation of archaic forms and symbols as subject matter illuminating modern existence had been the influence of Surrealism, Cubism, and abstract art.

He thereby questioned the possibility for mankind to transform a cradle of imagery into a new set of images, no longer dependent on tribal, archaic, and religious mythologies – the very symbols Rothko had utilized and struggled with during his middle period.

During this period, Rothko had been stimulated by Still ’ s abstract landscapes of color, and his style shifted away from surrealism.

Rothko, in the middle of a crucial period of transition, had been impressed by Clyfford Still ’ s abstract fields of color, which were influenced in part by the landscapes of Still ’ s native North Dakota.

Rothko had, after painting his first " multiform ," secluded himself to his home in East Hampton on Long Island.

Rothko had one-man shows at the Betty Parsons Gallery in 1950 and 1951, and at other galleries across the world, including Japan, São Paulo and Amsterdam.

Still wrote to Rothko to request the paintings he had given Rothko over the years.

Given that Rothko had known in advance about the luxury decor of the restaurant and the social class of its future patrons, the exact motives for his abrupt repudiation remain mysterious.

Shortly before his death, Rothko and his financial advisor, Bernard Reis, had created a foundation intended to fund " research and education " that would receive the bulk of Rothko ’ s work following his death.

Rothko's remains were first buried in East Marion Cemetery on the North Fork of Long Island, New York, in a plot belonging to Stamos, an artist who had been a friend of Rothko.

While New York and the world were yet unfamiliar with the New York avant-garde by the late 1940s, most of the artists who have become household names today had their well established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann.

It had been recognized that the paintings of Josef Albers, Barnett Newman, Mark Rothko, Adolph Gottlieb, Ad Reinhardt, Clyfford Still and Robert Motherwell were all very different yet the symbolic content was achieved " through dramatic statement of isolated and highly simplified elements.

Rothko, during the mid 1940s, was in the middle of a crucial period of transition, and he had been impressed by Clyfford Still ’ s abstract fields of color, which were influenced in part by the landscapes of Still ’ s native North Dakota.

Mark Rothko, the Abstract Expressionist painter, had a studio on the Bowery.

In an action known as the Rothko Case, it was determined that Marlborough had knowingly manipulated their management of Rothko's works to maintain a higher sale price after his death, to the detriment of Rothko's family's interest in his estate.

Rothko's will was admitted to probate the month following his death, naming his estate executors: Bernard Reis, who had drafted Rothko's will and who became a Marlborough Gallery New York director the month before Rothko died ; Theodoros Stamos, a friend and fellow artist represented by Marlborough New York starting in 1971 ; and Morton Levine, an anthropology professor, unconnected with Marlborough but who had been Rothko's son Christopher's guardian for a short time.

It is curious that at its best, the work of this school of painting -- Mark Rothko, Jackson Pollock, Clyfford Still, Robert Motherwell, Willem De-Kooning, and the rest -- resembles nothing so much as the passage painting of quite unimpressive painters: the mother-of-pearl shimmer in the background of a Henry McFee, itself a formula derived from Renoir ; ;

Mark Rothko ( Russian: Марк Ро ́ тко ; born Ма ́ ркус Я ́ ковлевич Ротко ́ вич Marcus Yakovlevich Rothkowitz ) ( September 25, 1903 – February 25, 1970 ), was a Russian-American painter.

The exploration of novel topics in modern art ceased to be Rothko ’ s goal ; from this point on, his art would bear the ultimate aim of relieving modern man ’ s spiritual emptiness.

As a result, Rothko ’ s work became increasingly abstract ; perhaps ironically, Rothko himself described the process as being one toward " clarity.

The term " multiform " has been applied by art critics ; this word was never used by Rothko himself, yet it is an accurate description of these paintings.

Soon, the " multiforms " developed into the signature style ; by early 1949 Rothko exhibited these new works at the Betty Parsons Gallery.

By the mid 1950 ’ s however, close to a decade after the completion of the first " multiforms ," Rothko began to employ dark blues and greens ; for many critics of his work this shift in colors was representative of a growing darkness within Rothko ’ s personal life.

Another point of departure with Newman and Rothko is the way the paint is laid on the canvas ; while Rothko and Newman used fairly flat colors and relatively thin paint, Still uses a thick impasto, causing subtle variety and shades that shimmer across the painting surfaces.

A series currently being written, it begins 20 years after Steel Seven, during the events of Victory Gundam, and introduces a few new cast members: Font Baud, a Mobile Suit enthusiast ; Curtis Rothko, a blind man working as a major member of Jupiter's special forces, Serpiente Tacon ; and Belle, the daughter of one of Jupiter's leading families, and apparently Curtis's own daughter.

The Rothko Case was the protracted legal dispute between Kate Rothko, the daughter of the painter Mark Rothko ; the painter's estate executors ; and the directors of his gallery, Marlborough Fine Art.