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The purpose of this paper is to analyze and examine Mark Rothko's color-field paintings. His paintings were considered to be the most advanced form of painting, and yet they were overlooked by formalism-modernist at first. Since World War Ⅱ, Clement Greenberg's formalist modernism dominated the art scenes in New York and his ideas emphasized the need to preserve purity of arts, which translated into avoiding mixture of different areas and pursuing original nature of the medium itself. As a result of this new assertion, the abstract expressionists, who emphasized the independence of the painting medium such as flatness and color of painting, began enjoying tremendous success. However, Greenberg's works were limited only to minor characteristics of abstract expressionism that corresponded to his own ideas such as diffusion of light, flatness of objects, and extreme abstract forms. Therefore, Rothko's color-field paintings also are usually discussed and reviewed based on these characteristics. Rothko, however, insists that his works differed from that of normal abstract arts. He claims that his use of abstract form in his works was solely to transcend the color and flatness of paintings. His paintings actually reveal that his claim holds true since they possess characteristics that cannot be explained by mere application of Greenberg's abstract expressionism.
Rothko's use of colors, which Greenberg claimed of containing a sole and unique characteristic, produces a three-dimensional effect, which was created by contrasting brightness, warmness and areas. Through effects produced by converging and contrasting colors, Rothko constantly attempted to develop new ways to portray new forms of color-field paintings. His new attempts to develop new ways to portray new forms of color-field paintings. His new attempts resulted in creating a three-dimensional effect and proved Greenberg's idea that Rotho's color-field painting fails to incorporate perspectives and sculptural illusions incorrect.
The fact that Rothko's color-field paintings produce specific forms of art proves that his paintings contain real contents unlike Greenberg's claims that Rothko's painting was a mere form of abstract expressionism. Furthermore, Rothko supported that his painting was not a form of mere abstract arts by depicting religious icons such as entombment, pieta and crucifixion in his color￢codified paintings.
By incorporating tragic ideas taken from Nietzsche's The Birth of Tragedy, Rothko further departs from the theories of formalism. Rothko, who noticed human's tragic irony of yearning for eternal life in the Cosmo created by the co-existence of Apollo and Dionysus powers, incorporated duality aspects of light and darkness, existence and non-existence, parallel and perpendicular, infinite and finite into his color-field paintings to illustrate human's tragic fate.
Rothko, who considered each color as a performer, concentrated on creating a theatrical space consisted of painting, spaces and spectators. His efforts to create the best physiological environment to review arts for better communications with spectators assisted the spectators to accept this color-field paintings whole-heartily. His apparent efforts to accommodate spectators as a part of his arts affirms that he tried to deviate from the main stream modernism, which argued that art objects should be able to represent themselves as arts independently of external factors such as spectators.
As illustrated-above, Rothko's works should not solely be described as works of a modern ist or a colorist but rather be praised for his admirable effort to express abstract arts from new perspectives. One can find this paper unique and different from previous works done on Rothko in that it attempts to analyze Rothko's paintings from a new approach that his works contain aspects that differ form a mere abstract art.
Rothko's use of colors, which Greenberg claimed of containing a sole and unique characteristic, produces a three-dimensional effect, which was created by contrasting brightness, warmness and areas. Through effects produced by converging and contrasting colors, Rothko constantly attempted to develop new ways to portray new forms of color-field paintings. His new attempts to develop new ways to portray new forms of color-field paintings. His new attempts resulted in creating a three-dimensional effect and proved Greenberg's idea that Rotho's color-field painting fails to incorporate perspectives and sculptural illusions incorrect.
The fact that Rothko's color-field paintings produce specific forms of art proves that his paintings contain real contents unlike Greenberg's claims that Rothko's painting was a mere form of abstract expressionism. Furthermore, Rothko supported that his painting was not a form of mere abstract arts by depicting religious icons such as entombment, pieta and crucifixion in his color￢codified paintings.
By incorporating tragic ideas taken from Nietzsche's The Birth of Tragedy, Rothko further departs from the theories of formalism. Rothko, who noticed human's tragic irony of yearning for eternal life in the Cosmo created by the co-existence of Apollo and Dionysus powers, incorporated duality aspects of light and darkness, existence and non-existence, parallel and perpendicular, infinite and finite into his color-field paintings to illustrate human's tragic fate.
Rothko, who considered each color as a performer, concentrated on creating a theatrical space consisted of painting, spaces and spectators. His efforts to create the best physiological environment to review arts for better communications with spectators assisted the spectators to accept this color-field paintings whole-heartily. His apparent efforts to accommodate spectators as a part of his arts affirms that he tried to deviate from the main stream modernism, which argued that art objects should be able to represent themselves as arts independently of external factors such as spectators.
As illustrated-above, Rothko's works should not solely be described as works of a modern ist or a colorist but rather be praised for his admirable effort to express abstract arts from new perspectives. One can find this paper unique and different from previous works done on Rothko in that it attempts to analyze Rothko's paintings from a new approach that his works contain aspects that differ form a mere abstract art.
목차
Ⅰ. 들어가는 글
Ⅱ. 로스코의 회화에 대한 모더니스트 비평
Ⅲ. 색채의 효과에 의한 공간감
Ⅳ. 구체적 소재를 내재한 색면
Ⅴ. 이원성으로 표출된 비극적 주제
Ⅵ. 관객을 수용하는 연극적 공간
Ⅶ. 맺는 글
참고문헌
Abstract
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