Mark Rothko Posters, Prints, Fine Art

Visit Rothko, Mark for a larger selection of his work.

Violet Green and Red Poster

Untitled Violet Black Orange Yellow White Red

Untitled 1969

Orange and Yellow Art Print

No 14. White and Greens Blue

Number 5 Art Print

White over Red

Number 14

No. 3 Art Print

Green Red on Orange

No. 6 Violet Green and Red

Yellow Blue Art Print

Untitled Green Divided by Blue Serigraph

No. 61 Brown Blue Brown on Blue

Untitled Yellow Red Blue

In spite of Jacob's humble salary, the Rothkowitzes were well educated, and able to speak Russian, Yiddish as well as Hebrew. After Jacob's coming back to Orthodox Judaism, he enrolled Marcus, his youngest son who had been five at the time, in the cheder. Here Rothko learned the Talmud. This education branded him as an outsider inside his own family; the elders had been taught in the public school system. Along with being Jewish, the adolescent Marcus became consequently an outsider amid outsiders.

Afraid that his sons would be drafted to the Czarist army, Jacob resolved to emigrate to the United States, following in the footsteps of Jews who had departed Daugavpils to avoid the Cossacks. His two brothers had already left and managed to set themselves up as clothing makers in Oregon, which had been a common business with Eastern European immigrants. Marcus stayed in Russia with his mother as well as older sister Sonia; they would later meet up with Jacob as well as the brothers afterward, reaching Ellis Island in the wintertime of 1913 after 12 days of sea travel. Not long following their landing, on March 27, 1914, Jacob passed away, leaving his family without financial means. One of Marcus' aunts was employed as an unskilled laborer and also Sonia worked a cash register, and Marcus took in one of his uncle's storage houses with the job of selling papers to employees.

Untitled Art Print

Red White Brown Art Print

Yellow and Gold Art Print

Untitled Art Print

Untitled Art Print

Green and White on Blue

Blue Green Brown

Untitled Art Print

Untitled Art Print

No. 10 Brown Black Sienna Dark Wine

Yellow and Blue

Untitled Blue Yellow Green Red

Brown and Black Reds

Untitled Art Print

Untitled No. 16

Marcus began his schooling in America in 1913, rapidly moving from 3rd to 5th grade then finishing the other four grades in 3 years. Rothko moved on to high school where he finished with honors with Lincoln High School in Portland when he had been 17. Rothko learned yet another language, his fourth, English. He was also was an participating member of the local Jewish civic center where he proved himself to be proficient at political discussions held there. As his father had been Rothko was liberal as well as impassioned about such topics as workers' rights and also women's right to choosing to use birth control methods. As was characteristic with some Jewish liberals, Rothko defended the Russian Revolution although his political belief system at the time might be seen as ornamental in the sense that he was not politically active.

After graduating high school Rothko accepted a scholarship to Yale. The scholarship was founded on academic performance, but it has been indicated that Yale merely made the scholarship bid in order to tempt Rothko's friend, economist Aaron Director, to enroll in the school as well. The scholarship only lasted one year and Rothko was pressured to take humble employment to pay for his classes.

Rothko thought the WASP Yale community overly elitist as well as too racist to suit his taste; as a result of this opinion, he and his friend Aaron Director began a satiric publication, The Yale Saturday Evening Pest. The magazine lampooned the institutions conventional, middle-class posture. After his second year, Rothko dropped out. Forty-six years later Rothko would at last return to pick up an honorary degree.

Orange and Yellow

Untitled No. 18

Untitled No. 11

Old Gold over White

White Cloud over Purple

Rothko then went to New York during the autumn of 1923, where he received work in the garment district and living quarters on the Upper West Side. Once when he had been calling on a acquaintance at the Art Students League of New York, Rothko found pupils drawing a model. He later reported that this moment had been start of his lifetime as a painter. Rothko was 20 years old at the time, and while and had had a few art lessons in high school, this event at the Art Students League was far from a direct foretelling of his future. Even his self-described start in New York isn't exactly genuine as two months following this he went back to Portland to see his family. In Rothko linked up with a theater group lead by Clark Gable's spouse, Josephine Dillon. Whatever his hope as an actor, at five-foot-ten and a robust weight, Rothko didn't bear the looks generally related with prosperous commercial actors of the era.

He then went back to New York where he registered in the New School of Design. Among his teachers with the school would be painter Arshile Gorky; this was plausibly his initial meeting with a member of the avant-garde. That fall, he attended classes at the Art Students League of New York instructed by still-life painter Max Weber, another Russian Jew. It was as a result of Weber that Rothko started to view painting as an instrument of emotional and spiritual manifestation, and Rothko's art works from this time show Weber's influence.

The move to to New York had based Rothko in a rich environment where he could experience of art of all cultures and times. Modernist artists exhibited in the New York galleries, and the city's museums were an priceless resource for the nurturing of a undeveloped artist's knowledge, experience and talents. One of those early influences had been the art of the German Expressionists, the surrealist painting of Paul Klee, and the art works of Georges Rouault. In 1928, Rothko held his own exhibition with a circle of painters at the fittingly titled Opportunity Gallery. His works of the period dealt with gloomy, dour, expressionist interiors along with city themes, and were accepted by both critics and the artist's peers. Even with his developing success, Rothko was required to supplement his revenue, and so in 1929, he started teaching lessons in painting and clay sculpture with the Center Academy. He would stay on as an instructor with the Academy until 1952. In this period, he met notable people in the art world such as Adolph Gottlieb, who, as well as with Barnett Newman, Joseph Solman and John Graham, made the circle of young painters surrounding the artist Milton Avery. Avery's stylized, natural themes, which were depicted applying a deep knowledge of shape and color, was a enormous influence to Rothko, whose personal art works shortly after encountering Avery, started to turn to like themes and color. These colors may be seen in his paintings Bathers or Beach Scene.

Rothko, Gottlieb, Newman, Solman, Graham as well as their mentor Avery, became a close knit group and would passmuch time together. They took a trip to at Lake George Gloucester, Massachusetts, passing their time painting while their nights were spent talking over the art world. In a 1932 trip to Lake George, Rothko came across Edith Sachar, a jewelry designer. The two were wed in November and initially kept a close relationship. The next summer, Rothko's foremost one-person exhibit was conducted in the Portland Art Museum. The exhibit was comprised largely of sketches and aquarelles, along with the art of Rothko's young pupils from the Center Academy. His family was not able to understand Rothko's commitment to be an painter, particularly in a era when the Depression had reached it's its worst level. As they faced grave economic setbacks, the Rothkoviche's were baffled by Rothko's apparent apathy to fiscal need; they thought he was doing his mother a ill turn by not getting a more profitable and pragmatic vocation.

Coming back to New York, unrestrained by his want of family backing, Rothko held his initial East Coast one-man exhibit at the Contemporary Arts Gallery where he presented 15 oil paintings. These had been primarily portraits as well as a few drawings. It had been the oils which would catch the critics' attention; Rothko's application of full areas of colors demonstrated a master's touch, and with this the artist demonstrated the period where he had passed the influence of Avery. In 1935 Rothko connected with Ilya Bolotowsky, Ralph Rosenborg, Ben-Zion, Adolph Gottlieb, Louis Schanker Lou Harris and Joseph Solman to organize a group they called The Ten, with an intent "to protest against the reputed equivalence of American painting and literal painting." By this time Rothko had been heading to the focus of his famous late paintings, all the same, in spite of this new forays in color, Rothko shifted his focus to a different conventional and stylistic ideal, ushering in an era of surrealist works influenced by mythical legends and symbols. This time may be interpreted as a spin-off of Rothko's developing repute between his contemporaries, in particular the Artists Union. Founded during 1937, the Union included Gottlieb as well as Soloman, their idea had been to produce a domestic art gallery to exhibit self-organized group showings. The Artists Union represented a collaborative effort that joined resources and talent in order to create an environment which was based upon mutual appreciation as well as an opportunity for self-promotion. In 1936 the group gave an exhibit at the Galerie Bonaparte in France, and also during 1938, an exhibit at the Mercury Gallery, which was in blunt rebelliousness directed at the Whitney Museum's theoretical schedule. The group had thought Whitney Museum weighted down with sectionalism. It had been in this time that Rothko found work, like several other painters of the time, in the Works Progress Administration, a labor relief office organized by Roosevelt's New Deal as a reaction to the financial crisis. While the Depression began to subside Rothko stayed on in government service, working with TRAP, an office which hired artists, architects as well as manual laborer for the refurbishment and redevelopment of public buildings. DeKooning, Avery, Pollock, David Smith, Reinhardt, Louise Nevelson, as well as Rothko's former instructor, Arshile Gorky, had been likewise working by TRAP, which includes 8 of the group of the Ten.

- Artist and Model
- Black and dark red on red 1958
- Black and Red on Red 1962
- Black Area in Reds 1958
- Black Blue painting 1968
- Black in Deep Red 1957
- Black Stripe 1957
- Black, Black on Wine 1968
- Black, White, Blue c.1963
- Blue divided by blue 1966
- Blue over Red 1953 163.8x89.5
- Brown and Blacks in Reds 1957
- Brown, black and blue 1958
- Composition 1958
- Composition 1959
- Dark over light 1954
- Figure and Doorway
- Four Reds 1957
- Grays in yellow 1960
- Green on blue 1968
- Green, Blue, Green on Blue 1968
- Green, White, Green on Blue 1969
- Harvard Mural Series 1961
- Homage to Matisse 1954
- Maroon on blue 1957-1960
- Mother and Child c.1938-1939
- Number 10 1950
- Number 14 1970
- Number 15 1949
- Number 15 1952
- Number 15 1958
- Number 16 1949
- Number 18 1947
- Number 19 1960
- Number 2 Blue, Red and Green 1953
- Number 21, 1949
- Number 22 1949
- Number 26 1947 85x115
- Number 6 Yellow, White, Blue Over Yellow on Gray 1954
- Number 7 Dark Over Light 1954
- Number 8 Figure in Archaic Sea 1946
- Number 8 white stripe 1958
- Number 9 White and Black on Wine 1958
- Number 9 1946
- Orange and Yellow 1956
- Orange, Red, and Red 1962
- Orange, Red, Yellow 1956
- Plum and Brown 1960
- Portrait of Joe Liss 1939
- Red and Orange on Salmon 1969
- Red on Red 1968
- Red Painting 1957
- Red, dark red on Red 1967
- Red, White, Yellow 1962
- Seascape c.1940
- Sienna Orange on Wine 1962
- Tan and black on red 1957
- The Peddler c.1924-1925
- Untitled Black and Gray 1969
- Untitled Blue on Red 1968
- Untitled Light Plum and Black 1961
- Untitled Red, Blue, Orange 1955
- Untitled, White, Yellow, Red on Yellow 1953
- Violet, Green, Red 1951
- White Center Yellow, Pink and Lavender on Rose 1950
- White Center 1950
- White over Orange
- White Over Red 1957
- White, Orange and Yellow 1953
- Yellow over Purple 1956
- Yellow, Red and Blue 1953