Oil paint, glue tempera and acrylic paint on Canvas. The painting is not varnished. He produced it in 1958 as the first in a series, and it sits squarely within his usual style of abstract expressionism. It is housed at the Tate Modern gallery in London. Black on Maroon was the first painting to be donated in 1968, although it was known as Sketch for ‘Mural No. Constant tension over the large surface is maintained by a simple but effective internally sprung system of cross bars bowed and jammed between the outer bars. Rothko therefore decided to withhold his pictures, which remained in his possession, and returned the amount already paid to him. The works were shown at Rothko’s 1961 retrospective at the Whitechapel Art Gallery in London, and in 1965 Norman Reid, then Director of Tate, approached Rothko about extending his representation in the gallery’s collection. Presented by the artist through the American Federation of Arts 1969 in colour p.27, -70 were among those originally painted to decorate the Four Seasons Restaurant in the Seagram Building, New York (the skyscraper in Park Avenue designed by Mies van der Rohe and Philip Johnson). 'To get the oppressive effect he wanted, he was using "a dark palette, more somber than anything I've tried before". Black on Maroon comes from one of three series of canvases, painted by Rothko in 1958, produced as a commission for murals for The Four Seasons Restaurant. and The fabric is stretched over a delicate strainer made of thin wooden bars, braced with internally sprung cross-bars. Supported by the Terra Foundation for American Art. as 'Mural, Section 3, 1959'); Whitechapel Art Gallery, London, October-November 1961 (40, repr. Black on Maroon is painted on a single sheet of US cotton duck stretched tightly over a strainer. T01163 May 26, 2016 - Artwork page for ‘Black on Maroon’, Mark Rothko, 1958 on display at Tate Modern. (London 1969), p.183 in colour. painting In addition, he never wanted them to be shown with other pictures. This earlier position may be just visible to the naked eye despite the artist applying a thick coat of opaque maroon paint on top. Further reading Rothko first mentioned the possibility of making a gift to the Tate in 1965 and discussed it with the Director Sir Norman Reid many times in the course of the next four years before making up his mind. They are much darker in mood than his previous works. These are now more apparent as the various red pigments used throughout the painting, have faded differentially, the greatest change being in the inorganic powder red in the base coat. The only picture from the first series that has been definitely identified is 'White and Black on Wine' 1958, formerly in the collection of William S. Rubin, New York, and now in that of Ben Heller, which has two horizontal soft-edged rectangular patches of white and black on a wine-coloured ground. Inscribed 'MARK ROTHKO | 1959' on back of canvas (in reverse direction to the arrows indicating the top) They were placed in a room which was intended to be the meeting room of the Board of Trustees. Different pigments have been used within the maroon, blending the colour from a deep wine to a muted mauve with accents of red. Black on Maroon is painted in mixed media on a single piece of cotton duck. In the forty years since the mural was painted, this unstoppable process has transformed maroon paint from a rich wine shade to a subtle violet, veiled appearance. When I realized my mistake, I started again, and this time I'm holding tight to the original conception"' (copyright 1970 by, All the Four Seasons pictures given to the Tate appear to come from the second or third series. Rothko was simply invited to do what he wanted in that particular room and was given the dimensions of the space (27 x 46ft) to work from. Featuring 250,000 artworks by over 45,000 artists. ', Further light is thrown on the project by the reminiscences of John Fischer recorded in. In an earlier letter of 25 February 1970, Philip Johnson recalled that the pictures 'were intended to be hung high up on the wall in order that the heads of the diners would be below the paintings. 10 $14.56 $14.56. He was always interested in having his paintings establish a certain contemplative mood for the viewer. Three of them (T01031, T01166 Simon Wilson, Tate Gallery: An Illustrated Companion, London 1991.Achim Borchardt-Hume (ed. 1958. Thick islands of impasto create accents at each corner and at the centre of the bars where Rothko smeared on dabs of black with a stiff brush, and stippled whipped peaks of paint onto the flat surface. 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