Mark Rothko showed eleven paintings at Betty Parsons Gallery in the spring of 1949; No. nine was among them.

1. Artwork
Description &
Analysis Of Mark
Rothko Paintings

2. No. 9 (1947)

3. No. 9 (1947)
• Mark Rothko showed eleven paintings at Betty Parsons Gallery in the spring of 1949; No.
nine was among them. Having left behind the figures and landscapes of his earlier work, the
"multiforms", of that this can be a typical example, featured blurred shapes created from
stratified washes of paint. The work anticipates Rothko's 1949 breakthrough to the
questionable "sectionals". the nice and cosy reds, oranges and yellows of No. nine area unit
discontinuous by the strange black mass coming back in from the left furthermore because
the wooded swirls of blue within the lower section. The blurred edges, separated colour
blocks, and beginnings of rectangular registers is seen, furthermore as some experiment
with size and scale. aloof from being just abstract forms, however, Mark Rothko believed
these motifs were objects imbued along with his force - "organisms..with the eagerness for
the expressive style."

4. Four Darks in Red (1958)

5. Four Darks in Red (1958)
• In 1969, Mark Rothko exhibited 10 paintings at the Sir Philip Sidney Janis Gallery;
Four Darks in Red were among those shown. With its dark, restricted palette, the
image exemplifies Rothko's late-period gravitation towards reds and browns.
though the imaging of images like Four Darks in Red appears so much distant from
that of Slow Swirl at the sting of the ocean (1944), Mark Rothko believed that the
rectangles just offered a replacement method of representing the presences or
spirits that he tried to capture in those earlier works. "It wasn't that the figure had
been removed," he once same, "..but the symbols for the figures... These new
shapes say.. what the figures same." during this method, Mark Rothko fanciful a sort
of direct communion between himself and therefore the viewer, one which could
bite the viewer with a better spirituality.

6. The Mark Rothko Chapel (1965)

7. The Mark Rothko Chapel (1965)
• St. Thomas Catholic University, the chapel was funded by John and
Dominick American state Menil and contains fourteen Rothko mural
paintings. There area unit 3 triptychs and 5 individual works. All of those
paintings area unit in hues of dark purple, maroon and black and area unit of
very massive scale. Mark Rothko worked closely with the architects, having
virtually complete management over the form of the building and its pensive
atmosphere inside. The darkness of the works is seen as melancholic and
communicative of Rothko's mood of his last years. He failed to live to
ascertain the official gap of the Chapel.

8. Untitled, Black on Grey (1969)

9. Untitled, Black on Grey (1969)
• Mark Rothko invited several of the big apple art world elite to his studio to look at his latest,
and what would be his last, series of paintings, the Black on Grays. whereas the event was
principally shrouded in silence, it was thought by some that these were premonitions of his
death. Others thought that with the prevalence of satellite pictures in a well-liked culture
that they were interpretations of moon landscapes, whereas others thought they were
paintings of images taken at midnight. The Black on Grays were painted directly on white
canvas and lacked the same old underpainting that Mark Rothko liked to "paint against."
operating in 2 registers solely, he severely restricted the colours and scaled down the canvas
to a lot of approachable and intimate size. the acute distinction between sunshine and dark
evokes a disappointment that contends out sort of a psychological drama, each mythic and
tragic.

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