Paper

Student Artwork Guide

Untitled 59

Name Class Date

Mark Rothko, Untitled 59. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Mark Rothko wahooart.com/en/artists/mark-rothko/
Artist’s dates
1903 – 1970
Movement
Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.
Artistic style
Color Field Painting
Notable elements or techniques
Layered Rectangular Blocks
Subject or theme
Emotion and Spirituality

In context

Untitled 59 — Mark Rothko

When might this have been painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Shaded: the lifetime of Mark Rothko (1903–1970) every dated painting, decade by decade

First works: up to 1945 Main working years: 1945–1958 Late works: from 1958

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/mark-rothko-untitled-59-8BWUG3-en/

Colours

Measured from the image

    Main colour

    Driftwood #937549

    Catalogued palette

    • #937549
    • #413422
    • #D5B46F
    • #6D5433

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Driftwood
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Mark Rothko over the last twelve months — 46 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 32.6%
    2. 2 Italy 17.9%
    3. 3 United States of America 7.7%
    4. 4 Brazil 5.3%
    5. 5 France 4.7%
    6. 6 Germany 4.1%
    7. 7 Greece 3.7%
    8. 8 Netherlands 3.0%
    9. 9 Spain 2.2%
    10. 10 United Kingdom 1.8%
    11. · 36 other countries 17.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Mark Rothko

    1. 1 White Center, 1950 8.1%
    2. 2 No.61 (Rust and Blue), 1953 6.8%
    3. 3 No.1 3.5%
    4. 4 Orange and yellow, 1956 3.1%
    5. 5 Red and Orange 3.1%
    6. 6 Three 2.9%
    7. 7 AUTUMN 2.9%
    8. 8 No. 5 No. 22 2.5%
    9. 9 Violet, Black, Orange, Yellow on White and Red, 1949 2.1%
    10. 10 No. 13 (White, Red on Yellow), 1958 2.1%
    11. 11 Abstract painting 2.0%
    12. 12 Untitled, 1970 2.0%
    13. 13 Blue and gray, 1970 1.6%
    14. 14 Four Darks in Red, 1958 1.6%
    15. 15 Orange and Red on Red 1.6%
    16. 16 No.8, 1952 1.4%
    17. 17 Entrance to Subway (Subway Station.Subway Scene) 1.4%
    18. 18 Slow Swirl at the Edge of the Sea, 1944 1.3%
    19. 19 No. 22, 1948 1.2%
    20. 199 Untitled 59 this painting 0.1%

    Together these works take 51.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 460 works by this artist, of which 274 were looked at at least once. This painting ranks 199 of them, with 0.1% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Untitled 59 — Mark Rothko

    Mark Rothko’s Exploration of Emotion Through Color

    Mark Rothko (1903 – 1970), born Markus Yakovlevich Rothkowitz in Dvinsk, Latvia, stands as a monumental figure in Abstract Expressionism. His life was marked by early trauma—the loss of his father during the family’s emigration to Portland, Oregon—and a lifelong preoccupation with confronting existential anxieties. These experiences profoundly influenced his artistic vision, propelling him toward a singular approach that prioritized conveying emotion through the deliberate orchestration of color.

    Early Influences: Rothko's formative years were steeped in Jewish tradition and intellectual discourse within the Pale of Settlement. Witnessing pogroms instilled a visceral understanding of persecution and suffering, themes that would permeate his artistic output.

    Portland Years & Artistic Development: The arrival of his family in Portland presented challenges of assimilation alongside exposure to American culture. Despite the difficulties, Rothko cultivated an environment rich in debate and learning, nurturing his burgeoning talent for painting.

    The Shift Towards Color Field Painting: By the late 1930s, Rothko began experimenting with color field painting—a technique characterized by large expanses of pigment applied to canvas without discernible brushstrokes or representational imagery. This method allowed him to bypass traditional artistic conventions and directly access emotional states.

    Technique and Material Considerations

    Rothko’s distinctive style hinged on meticulous attention to material properties. He favored layering thin washes of color onto canvas, creating luminous blocks that seemed to emanate from within. This technique—often described as “absorption”—involved applying pigment in multiple layers, allowing it to seep into the fabric and achieve a velvety surface texture. The careful selection of pigments—primarily reds, yellows, and blues—was paramount; Rothko painstakingly calibrated their hues and saturations to evoke specific feelings.

    Pigment Choice: Rothko utilized cadmium red, yellow ochre, and ultramarine blue extensively, selecting pigments known for their vibrancy and stability.

    Layering Process: He applied pigment in successive washes, building up color gradually to achieve a harmonious blend that prioritized tonal relationships over precise color matches.

    Canvas Preparation: Rothko meticulously prepared his canvases with gesso—a mixture of plaster and pigment—creating a smooth surface receptive to multiple layers of paint.

    Symbolism and Emotional Resonance

    Rothko’s paintings transcend mere visual aesthetics; they are imbued with profound symbolic significance. Critics have interpreted his works as meditations on spirituality, grief, and the human condition. The monumental scale of his canvases—often reaching several feet in height—creates an immersive experience for viewers, inviting contemplation and emotional engagement.

    Color as Emotion: Rothko believed that color possessed inherent expressive power, capable of conveying feelings without resorting to figurative representation. He sought to capture the essence of human emotion—joy, sorrow, fear—through the manipulation of chromatic hues.

    Geometric Forms & Spiritual Depth: While his canvases lack recognizable shapes or forms, Rothko’s use of geometric rectangles—often stacked horizontally—suggested a connection to sacred geometry and an aspiration toward transcendence.

    The Viewer's Role: Rothko intentionally left the interpretation open to the viewer, asserting that each individual brings their own experiences and emotions to bear on the artwork.

    Historical Context and Legacy

    Rothko emerged during the crucible of Abstract Expressionism—a movement that revolutionized American painting in the postwar era. Artists like Jackson Pollock and Willem de Kooning embraced spontaneity and gesture, rejecting academic conventions in favor of visceral expression. Rothko’s unwavering commitment to color field painting distinguished him from his contemporaries and solidified his place as one of the most influential figures in 20th-century art.

    Postwar Artistic Shift: The devastation of World War II spurred a dramatic rethinking of artistic priorities, prioritizing emotional intensity over intellectual rigor.

    Influence on Subsequent Artists: Rothko’s pioneering technique continues to inspire painters today, demonstrating the enduring power of color as a vehicle for conveying profound psychological states.

    Rothko's Enduring Appeal: His paintings resonate with audiences across cultures and generations, offering solace, contemplation, and an invitation to explore the depths of human experience.

    Rothko’s legacy extends beyond the realm of art history; his work embodies a timeless quest for beauty and meaning—a testament to the transformative potential of artistic vision.

    Artist and museum

    Artist

    Mark Rothko

    Born in Daugavpils, Latvia

    A Life Shaped by Displacement

    Mark Rothko arrived in the United States as a young boy, part of a family moving from Dvinsk, Latvia, to Portland, Oregon, in 1913. His early years were marked by the heavy atmosphere of the Pale of Settlement, where his family lived amidst political unrest and the fear of pogroms. This sense of instability followed him across the ocean. The loss of his father, Jacob, shortly after their arrival in America added a layer of personal grief to the challenges of settling in a new culture. While he studied at Yale University, the pull of New York City eventually led him to leave formal academics behind for the Art Students League.

    His upbringing was one of intellect and debate. His father, a pharmacist with socialist leanings, fostered a home where learning was central. This environment, combined with the hardships of the immigrant experience, created a deep sensitivity to human suffering. These early experiences of loss and the struggle to find a place in a chaotic world became the quiet foundation for everything he would later paint.

    From Figures to Fields of Color

    In his early years in New York, Rothko focused on realism, painting portraits and urban scenes with careful attention to detail. As the 1940s brought the horrors of World War II, his work began to shift. He moved away from recognizable objects, looking instead toward Surrealism and mythology to find a way to express universal human emotions. During this period, his canvases featured biomorphic shapes that seemed to float between being figures and being abstract forms.

    By the late 1940s, he had developed the style that would define his career. He stripped away all imagery, leaving only large-scale canvases with rectangular blocks of color. These forms appeared to hover and resonate against one another. He used thin washes of paint to create subtle changes in tone and texture, making the edges of his shapes appear blurred. He often avoided titles, using simple numbers like No. 1 or No. 6 so that viewers could face the work without any preconceived ideas.

    The Search for Emotional Truth

    Rothko’s mature period is associated with Color Field painting. His goal was to use color to speak directly to the human soul, bypassing the intellect to reach deep emotions such as tragedy, ecstasy, and despair. He meticulously layered paint to create a sense of depth and light that seemed to come from within the canvas itself. These large works were intended to envelop the viewer in an immersive experience.

    His commitment to this emotional honesty led to several significant projects:

    The Seagram Murals, which he originally intended for a New York restaurant but later donated to the Tate Gallery after feeling the setting would compromise the work.

    The Rothko Chapel in Houston, Texas, a non-denominational space containing fourteen of his paintings in varying shades of black, designed as a place for quiet reflection.

    The Harvard Mural series, which were donated to a dining room at the Holyoke Center.

    Despite his immense influence on Abstract Expressionism and the later Minimalist movement, Rothko struggled with depression throughout his life. He died by suicide in 1970. His work remains a central part of modern art history, found in permanent collections such as the Museum of Modern Art in New York and the Tate Modern in London.

    Where to read more

    Find this online

    QR code linking to the download page for Untitled 59

    wahooart.com/en/art/download/mark-rothko-untitled-59-8BWUG3-en/

    Cite this artwork

    MLA
    Rothko, Mark. Untitled 59. n.d., https://wahooart.com/en/art/mark-rothko-untitled-59-8BWUG3-en/
    APA
    Rothko, Mark (n.d.). Untitled 59 [Painting]. https://wahooart.com/en/art/mark-rothko-untitled-59-8BWUG3-en/
    Chicago
    Mark Rothko. Untitled 59. n.d. https://wahooart.com/en/art/mark-rothko-untitled-59-8BWUG3-en/
    Harvard
    Rothko, Mark (n.d.) Untitled 59. Available at: https://wahooart.com/en/art/mark-rothko-untitled-59-8BWUG3-en/

    Look closely

    Untitled 59 — Mark Rothko

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: color field painting, rhythm, emotion. Do you agree? What would you add, or take away?
    4. Look back at White Center (1950), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Untitled 59 — Mark Rothko

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is Mark Rothko primarily known for?

      • A Abstract Expressionism
      • B Cubism
      • C Renaissance Painting
    2. 2. The painting features prominently a person holding what instrument?

      • A Guitar
      • B Piano
      • C Drum
    3. 3. What is the dominant color palette employed in Rothko's work?

      • A Bright Reds and Yellows
      • B Pale Blues and Greens
      • C Dark Browns and Blacks
    4. 4. Rothko’s artistic style aligns with which movement?

      • A Impressionism
      • B Surrealism
      • C Abstract Expressionism
    5. 5. The painting utilizes a technique characterized by large, rectangular blocks of color – what is this technique called?

      • A Pointillism
      • B Fresco
      • C Color Field Painting

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2C · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Where does "Untitled 59" stand among Mark Rothko's recurring subjects?

    Mark Rothko's recurring themes include color blocks, rothko style, existentialism, spirituality, legacy artwork; "Untitled 59" focuses on color field painting, rhythm, emotion, spirituality, minimalism, geometric shapes, darkness, light.

    What is "Untitled 59" made with, and in which style?

    In "Untitled 59", the acrylic on canvas technique meets the Abstract Expressionism movement.

    How do the colors of "Untitled 59" relate to each other?

    "Untitled 59" by Mark Rothko displays a unified palette color harmony.