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Mark Rothko Berühmte Zitate

„Das Bedürfnis, ja die Sehnsucht nach dem Mythos, wird in periodischen Abständen von denen reaktiviert, die sich jene uralten Bilder aus nostalgischen Gründen wieder zueigen machen möchten.“

Mark Rothko

Die Wirklichkeit des Künstlers, München 2005, aus dem Amerikanischen übersetzt von Christian Quatmann, ISBN 3-406-52880-5, S.95, orig.: The Artist´s Reality, London 2004

„Doch der Künstler braucht nur so viel Kunstfertigkeit, wie erforderlich ist, um sein konkretes Ziel zu erreichen. Sollte er mehr davon besitzen, ist es sogar besser, wenn wir nichts davon erfahren, denn die Darbietung dieser technischen Brillanz würde lediglich seine Kunst beschädigen.“

Mark Rothko

Die Wirklichkeit des Künstlers, München 2005, aus dem Amerikanischen übersetzt von Christian Quatmann, ISBN 3-406-52880-5, S. 72, orig.: The Artist´s Reality, London 2004

„Wenn wir nach Tätigkeiten suchen, die sich mit dem Schaffen des bildenden Künstlers vergleichen lassen, bieten sich eigentlich nur zwei geistige Berufe an: der des Dichters und jener des Philosophen, denn diese beiden verfolgen ähnliche Ziele wie der Künstler. Wie der bildende Künstler wollen auch diese beiden nur eines: ihr Verständnis der Wirklichkeit so konkret wie möglich zum Ausdruck bringen.“

Mark Rothko

Die Wirklicheit des Künstlers, München 2005, aus dem Amerikanischen übersetzt von Christian Quatmann, ISBN 3-406-52880-5, S. 73, orig.: The Artist´s Reality, London 2004

„Ich bin an den Beziehungen von Farbe und Form nicht interessiert. Ich bin nur daran interessiert, die grundlegenden menschlichen Emotionen auszudrücken - Tragik, Ekstase, Untergang usw.“

Mark Rothko

Weltgeschichte der Kunst, München 1983; über Abitur-Wissen Kunst, Stark, 1992
("I am not interested in the relationships of color or form or anything else. [...] I'm interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on - [...]" - Selden Rodman: Conversations with Artists. New York Devin-Adair 1957. p. 93. Nachdruck in: Writings on Art - Mark Rothko (2006), edited by Miguel López-Remiro p. 119 books.google http://books.google.de/books?id=ZdYLk3m2TN4C&pg=PA119

Mark Rothko: Zitate auf Englisch

“I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.”

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Mark Rothko

Quelle: after 1970, posthumous, Abstract Expressionism, Creators and Critics', 1990, p. 173 : working notes, undated

“Like Rimbaud before them, the surrealists abandoned the aesthetic altogether; it takes a certain courage to leave poetry for Africa [as Rimbaud himself did]. They revealed their insight as essentially moral in never forgetting for a moment that most living is a process of conforming to an established order which is inhuman in its drives and consequences. Their hatred sustained them through all the humiliating situations in which the modern artist find himself, and led them to conceptions beyond the reach of more passive souls. For them true 'poetry' was freedom from mechanical social responses. No wonder they loved the work of children and the insane – if not the creatures themselves.”

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Mark Rothko

Quelle: 1940's, Beyond the Aesthetics (1946), pp. 39-40

“[I am] dealing not with the particular anecdote, but rather with the Spirit of Myth, which is generic to all myths at all times.”

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Mark Rothko

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 81
after 1970, posthumous

“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures…. these new shapes say…. what the symbols said. [Rothko, explaining Seitz his new way of painting during the mid-1940s]”

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Mark Rothko

Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 142
after 1970, posthumous

“The progression of a painter's work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.”

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Mark Rothko

In Tiger’s Eye, Vol. 1, no 9, October 1949; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 170
1940's

“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures.... these new shapes say.... what the symbols said.”

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Mark Rothko

Rothko, explaining Seitz his new way of painting during the mid-1940s
Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 142
after 1970, posthumous