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Powell III, Earl A.

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Foreword

Earl A. Powell III

Mark Rothko: The Works on Canvas—Catalogue Raisonné

~Mark Rothko belonged to a generation of American artists that changed the nature of abstract painting. Working on a large scale, Rothko created paintings of unprecedented breadth and radiance, suffusing his images with the aura of a numinous presence. Given the reach of both his ambition and his achievement, Rothko’s legacy-like that of other New York...

Author

Earl A. Powell III

PublisherNational Gallery of Art

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20465

Foreword

Mark Rothko belonged to a generation of American artists that changed the nature of abstract painting. Working on a large scale, Rothko created paintings of unprecedented breadth and radiance, suffusing his images with the aura of a numinous presence. Given the reach of both his ambition and his achievement, Rothko’s legacy—like that of other New York School painters such as Jackson Pollock, Barnett Newman and Clyfford Still—has acquired mythic proportions. While his work is well known, it has until now escaped systematic study. This is especially significant in Rothko’s case, since only a catalogue raisonné can address the issues that pertain specifically to his oeuvre.

Between 1949 and 1970, the year of his death, Rothko worked within the confines of a particular compositional format: one or more rectangular forms suspended within a monochromatic field. This approach lent his work an obvious consistency, although the range of expression that he derived from these restricted means is remarkably varied. The methodological conception of the catalogue raisonné is ideally suited to representing both the discipline and the diversity that lie at the heart of Rothko’s art. Of course, the present catalogue also promises to establish the full scope of his imagery, including early landscapes, interiors, urban street scenes and subway paintings, the symbolic pictures based on mythological and religious themes, and the abstract canvases that predate Rothko’s “classic” period. Only a precise account of Rothko’s career will allow future scholars to map the complex formal and intellectual development of his work. Further, by charting the ownership and exhibition history of the works on canvas, the catalogue will serve as a common source of reference, dispelling many of the conflicts and confusions that surround the history of Rothko’s oeuvre and that prevent one from properly assessing its nature and significance.

When the Mark Rothko foundation made its extraordinary gift to the National Gallery of Art in 1985 and 1986 of hundreds of paintings and drawings by Rothko, we became one of the most important repositories of work by the artist. It followed naturally that the Gallery should be the publisher of the catalogue raisonné of Rothko’s work. Such an undertaking requires many collaborators; a number of whom we would like to single out for special thanks.

We were most fortunate to have the generous support of Christopher Rothko, Kate Rothko Prizel and Ilya Prizel. Their great perseverance and faith in the enterprise of publishing the catalogue raisonné, in the face of unavoidable delays, have been exemplary. They have been firm advocates of the project from the beginning and have provided access to materials and important information as well as gracious advice and guidance.

David Anfam, who has spent nearly a decade in close study of Mark Rothko for the volume, has set an extraordinarily high standard of scholarship. Every lead on information about a work on canvas has been followed up zealously; issues of dating and provenance have been thought through with the greatest care and attention. Many miles have been covered in the search for works in obscure locations. New discoveries have been made in the chronology of the artist’s career, and much has been revealed concerning titles, exhibition history and the imagery of the paintings. In addition, Dr. Anfam has provided an insightful and groundbreaking introduction to the book, adding significantly to its scholarly value.

Frances P Smyth, editor-in-chief of the National Gallery, has displayed her usual grace and good judgment in overseeing the preparation of this catalogue. She has coordinated the efforts of Dr. Anfam and his assistants from start to finish as well as the arrangements for publishing the book. Dr. Anfam’s most recent assistant, Laili Nasr, has provided excellent support, without which the manuscript could not have been completed. We are also most grateful for the kindness and cooperation of numerous private collectors, dealers and institutions whose help greatly facilitated the author’s research.

Ambassador Donald Blinken, as president of the Mark Rothko Foundation, supported and guided the catalogue raisonné from the beginning. We are grateful for his constant direction and encouragement. Bonnie Clearwater was an early contributor to research for the project.

Marion Kahan, the registrar for works belonging to the Rothko family, has provided essential help with the cataloguing process and has been an indispensable source of information. Yale University Press and its director in London, John Nicoll, our publishing partners in this venture, have gone to great lengths to produce a handsome and useful catalogue in record time. Such a monumental publication could never be produced without an additional source of support, and we are very grateful to the Dedalus Foundation, Inc., for making it possible for every work in the book, save those whose whereabouts are unknown, to be reproduced in color.

Earl A. Powell III
Director
National Gallery of Art, Washington

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