Mark Rothko (after) - No

Original poster by Mark Rothko (*) Reproduction of the work “No. 61 (Rust and Blue) [Brown Blue, Brown on Blue]” oil on canvas created by Rothko in 1953 and part of the MOCA Museum of Contemporary Art, Los Angeles collection. Made with Giclée technique (pigment ink print) Luxury edition on heavyweight archival paper of high-quality cotton, acid-free (300 g/m2). Published by MOCA Authorized print with copyright by Kate Rothko-Prizel & Christopher Rothko. Large format. Includes Certificate of Authenticity (COA) - Sheet dimensions: 91 x 71 cm - Image dimensions: 76 x 61 cm - Year: 2004 - Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, therefore offered in perfect condition). - Provenance: Private collection. The work will be carefully handled and packaged in reinforced cardboard packaging. The shipment will be tracked (UPS, DPD, DHL, FedEx). The shipment will also include transport insurance for the final value of the artwork with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Mark Rothko, together with Pollock, was one of the supreme representatives of American abstraction. Through his painting he sought to achieve an ambitious utopia: to express the most basic universal emotions. And for many he achieved it. Markus Rothkovitz was born in Russia. Of evidently Jewish descent, he emigrated to Oregon in 1910, probably fleeing the antisemitism that drove many minds away. He studied art in the 1920s, but considered himself largely self-taught. Before World War II he cultivated expressionist figuration and absorbed the spirit of the avant-gardes he saw in exhibitions organized by the MoMA. After the war he began to explore color field painting, gradually abandoning figurative references and, in the 1950s, with abstract expressionism already established, began the personal abstraction that would define his painting ever since. Rothko’s paintings, monumental, show large rectangular fields of color with blurred boundaries between them. The colors are hazy, floating suspended on the canvas, arousing quite fascinating mystical sensations. From there, Mark Rothko would become an institution of American art. Protected by Peggy Guggenheim, his successes would be notable. But in the late 1960s, amid a depressive crisis, and after painting his series of works in black acrylic, he eventually took his own life.

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