Rothko, No. 210/No. 211 (Orange)발음듣기
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Rothko, No. 210/No. 211 (Orange)
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It surrounds me even though it is a flat plain where these orange rectangles and squares hover and vibrate against this lavendery but dark purple field.발음듣기
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There's something about the horizontals of the forms that make everything feel as if they're moving ever so slowly, almost the way the clouds form and un-form.발음듣기
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And the way in which those forms fill the space but then push out forward and then recede also simultaneously back into the pictorial space is slow and gentle and densely aesthetic.발음듣기
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[Narrator] How can something painted so flatly though we see a lot of brushstrokes in it creates this deep illusionistic space.발음듣기
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[Narrator] It really seems to be basically two colors and yet each of those colors are seen infinitely modulated.발음듣기
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There are so many yellows and oranges within those spaces and then even the purple that functions both as a space that the orange can occupy but then somehow also as a frame.발음듣기
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[Narrator] Rothko, by the time he painted this in 1960 had been painting abstractly for 20 years and yet in that practice there's similarities but no picture is the same.발음듣기
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And in this particular one you see these shifting shapes and there are places where the orange is more densely painted and other places where it's really thin.발음듣기
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So that because it is painted entirely purple underneath that you also get the sense of a veil.발음듣기
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[Narrator] It's really instructive to look at the decisions that Rothko made and I find especially intriguing the edges of the orange the way in which they feather.발음듣기
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This idea that pure color in pure form could resonate in a way that was spiritual that was profound was central to some of the thinking of the abstract expressionists and I think especially important to Rothko.발음듣기
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[Narrator] In the mid 20th century there is less conversation around spirituality in art and Rothko was throughout his career concerned with thinking about painting and its relationship to the spiritual.발음듣기
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And not being connected to any kind of specific religious dogma, but rather that much larger idea about there being something larger than us and where do we or how do we stand in relationship to it.발음듣기
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[Narrator] This is painting that develops in the post war era at a moment when society had some fundamental questions in front of it.발음듣기
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This is a moment when important philosophical questions are being asked and Rothko is confronting those but is not using the visual vocabulary of a past era.발음듣기
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1960, this is a fiery orange painting and this is just as the civil rights movement and so much activism was literally catching fire.발음듣기
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And I think that we can't ignore that combination and its possibilities of being on Rothko's mind.발음듣기
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