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Essay / Research Paper Abstract
A 5 page paper which examines the
development of artist Mark Rothko. The paper discusses his surrealist style and his
mature style which utilized abstract expressionism. Bibliography lists 6 sources.
Page Count:
5 pages (~225 words per page)
File: JR7_RArothko.rtf
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Unformatted sample text from the term paper:
initial work was very easily understandable in terms of subject matter. His later work, was completely void of subject matter as it presented the viewer with nothing but a few
colors, as little as two colors, and very square or rectangular shapes, often limited to two shapes. In the following paper we look at two of his earlier surrealistic paintings
and then take a look at two of his abstract expressionist paintings. The paintings in the surrealistic period discussed are Gethsemane from 1944 and Sea Fantasy from 1946. The paintings
from the abstract expressionism period are , Untitled from 1949 and No. 2 (No. 7 and No. 2) from 1951. Surreal Paintings In understanding the painting titled Gethsemane
(1944) we must take into consideration that Rothko was finding the Old and New Testaments to be a very powerful source of inspiration for his work. The title of this
piece "refers to the garden near Jerusalem that was the scene of the agony and betrayal of Christ. In a radio broadcast Rothko" was asked the following question: "Are not
these pictures really abstract paintings with literary titles?" (Anonymous Mark Rothko, 2002; early1.html). His answer was as follows: "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 are the symbols of mans primitive fears and motivations, no
matter in which land or what time, changing only in detail but never in substance....Our presentation of these myths, however, must be in our own terms which are at once
more primitive and more modern than the myths themselves--more primitive because we seek the primeval and atavistic roots of the ideas rather than their graceful classical version; more modern than
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