The Art of Mark Rothko: Selections from the National Gallery of Art
Washington, DC – The National Gallery of Art, Washington,
is lending an exhibition
of 27 works by the preeminent American artist Mark Rothko (1903-1970) to Hong
Kong and Seoul. Organized by the Gallery
in collaboration with the U.S. Department of State, The Art of Mark Rothko:
Selections from the National Gallery of Art
includes drawings, watercolors, gouaches, and
paintings on canvas and paper in oil and acrylic
dating from the late 1920s through 1970.
They offer an overview of the artist’s
aesthetic and intellectual evolution over five decades.
Currently on view through January 8, 2006, at the Museo de Arte Moderno, Mexico City, the exhibition will travel to the Hong Kong Museum of Art, March 31 through June 4, 2006, and to Leeum, Samsung Museum of Art, Seoul, June 22 through September 10, 2006. This is the first survey of art by Rothko ever seen in each of the three countries.
A central figure in the development of postwar painting in the United States, Rothko is best known for the powerful and hypnotic fields of colour that characterized his work from the late 1940s onward, paintings on both canvas and paper that are among the landmarks of abstract expressionism.
In 1986 the National Gallery was the primary recipient of the Mark Rothko Foundation’s largesse when it received 296 paintings on canvas and paper, as well as a study collection of more than 600 drawings and watercolors. The variety of this gift is reflected in the current exhibition.
As part of its commitment to Rothko’s art, the Gallery has copublished, with Yale University, Mark Rothko: The Works on Canvas by David Anfam, which documents 835 paintings. This volume is being compiled by Ruth Fine with Laili Nasr and Janet Blyberg and presently include documentation for approximately 2,600 works.
http://www.nga.gov/exhibitions/rothkotourinfo.shtm
Mark Rothko
a cura di Oliver Wick
6 ottobre 2007 - 6 gennaio 2008
http://www.palazzoesposizioni.it/canale.asp?id=135
Prestito: «Brera ha aderito volentieri al triplice progetto di mostra prestando opere a tutte e tre le sedi - spiega Arrigoni -. Non si prestava il Cristo Morto perché, assieme allo Sposalizio della Vergine di Raffaello e la Pala di Montefeltro di Piero della Francesca, è l´immagine simbolo del museo, una presenza irrinunciabile». L´aspetto conservativo, cioè che la tela a tempera è sottilissima e delicata, «era solo uno degli aspetti - aggiunge la direttrice - che mi hanno spinta a negare il prestito».