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Home , Barnett Newman, Mark Rothko

LESSON TWO: Color and Environment

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IMAGE FIVE: . American, born LESSONS . 1903–1970. No. 5/No. 22. 1950 (dated on 1 reverse 1949). Oil on canvas, 9' 9" x 8' 11 ⁄8" (297 x 272 cm). The Museum of , . Gift of the artist. © 1998 Kate Rothko Prizel & Christopher Rothko/ (ARS), New York

IMAGE SIX: . American, 1905–1970. . 1950–51. Oil on canvas, 3 1 7' 11 ⁄8" x 17' 9 ⁄4" (242.2 x 541.7 cm). The , New York. Gift of Mr. and Mrs. Ben Heller. © 2007 Barnett Newman Foundation/Artists Rights Society (ARS), New York

INTRODUCTION The artists Mark Rothko and Barnett Newman are also considered Abstract Expressionists. This lesson compares two of their large, abstract, colorful canvases and examines some of the ideas that informed their artistic processes.

LESSON OBJECTIVES • Students will consider the choices artists make with regard to , focusing on color, shape, composition, proportion, balance, style, and scale.

• Students will learn how to discuss and compare nonrepresentational works of art.

• Students will think about their relationship as a viewer to works of art and will consider how an abstract work can evoke a sense of atmosphere or place. . write down Have them . a few them to write Ask , of which has large areas with color No. 5/No. 22 (New Haven: Press, Haven: University (New 1993), Yale p. 50. Vir Heroicus Sublimis , 1950-51 (Image Six) r Field painting 11 , 1950 (Image Five) Vir Heroicus Sublimis Vir No. 5/No. 22 in Dispute: Art since the Forties ModernismArt in Dispute: follows a compositional structure Rothko worked on for more than twenty on for more worked structure Rothko a compositional follows

Paul Wood et al., Wood Paul colors? How many different colors can they list? How might they describe the brushwork? colors How many different colors? kinds of shapes do they notice? What (discussed earlier in this guide) made when creating their work. made when creating earlier in this guide) (discussed they use color? How did artists, by two different works compare going to they are students that Tell Line? Scale? and Barnett Newman,Mark Rothko time as Pollock, the same around working at were who Kline, and Frankenthaler.They and which Rothko will be looking closely at the manner in Newman painted. showing a specific subject. idea? How might line or How might their use of paint convey this emotions? color convey ideas or atmosphere, art. work of in an abstract or environment to this idea later return will We in the lesson. sentences describing this work. with their description. them to be creative Encourage Have the sentences. the students share ing the two works of art. may consider how each artist uses color, Students paint, proportion, composition, and shape. the two artists’ brushwork, They may compare the horizontal and vertical aspects of the and the sizes of the two canvases. ten descriptive words. five favorite words. their Then have them circle Ask them to write note cards. on separate these words of five and have each group Split the class into groups words. poem using their a free-form create back to the painting as they Ask them to refer build their poem. finished, they are When their poem out loud. ask them to read Ask the other students to comment on each poem. Do these poems help them to see the painting way? How so? in a different

11. • at Rothko’s Ask students to spend some time looking No. 5/No. 22 years. this painting, In blocks of rectangular separated narrowly , against of a background in a column hover color yellow, yellow. The blocks’ and orange soft and irreg- edges are fade and blur. to ular and tend applied the paint with a large, Rothko brush. broad The paint in tone,has differences intensity, and saturation. • painting. students to look closely again at Rotkho’s Ask do they notice about the What Rothko was a largely self-taught artist kinds of who with experimented Rothko many painting, including representational, social realist, Surrealist, and abstract. the- a as worked once He atrical painter. set his Colo is known for He IMAGE-BASED DISCUSSION Mark Rothko, INTRODUCTORY DISCUSSION INTRODUCTORY • choices Kline, some of the artistic students to review Ask your Pollock, and Frankenthaler • an idea or emotion in paint, consider how they might represent Ask students to without • seek to convey a sense of place, to discuss the ways that an artist might Ask your students Barnett Newman, • to the students again. Show both works contrast- Lead students in a discussion comparing and • Now ask your students to look at Newman’s no obvious focus of attention. as possible, simplified forms as much Rothko rectan- creating gles float on a field of that seem to color. LESSONS 12 LESSONS 13 14 . Ideas about the sublime have . In English,“Man, this title means 13 sublime (Philadelphia: of Philadelphia Museum Art, 2002), p. 41. p. 178. Vir Heroicus Sublimis . lines in paintings? do they usually see horizon Where Barnett Newman Barnett Newman, horizon line p. 178. This quote applies to Newman’s work as well. This quote applies to Newman’s 12 Barnett Newman, Mark Rothko,Mark Temkin, Ann in quoted Barnett Nemwan, in Temkin, quoted Temkin, look different if they were not included? If they were moved to a different part of the painting? moved to a different not included? If they were if they were look different zips. do they notice? What field broken by five thin vertical strips.field broken students how the size of a painting can affect Ask their viewing experience. Rothko once said,Rothko paint them, I reason pictures...the “I paint very large however—I think it I know—isapplies to other painters intimate and because I want to be very precisely human.“ Point out the horizontal line in the red band toward the middle of the painting. the middle toward band in the red the horizontal line out Point is this How horizon lines? traditional from different to do that.he might have chosen effect does it have on their viewing experience? What Heroic and Sublime.”Heroic an essay on the Newman wrote to do with beauty and elements in nature that might inspire awe. that might inspire elements in nature to do with beauty and in Newman was interested exist in the modern moment. how the sublime might 12. 13. 14. • the zips have on their viewing. Ask students to discuss what effect How would the painting •“zips.” Newman called the vertical strips in his work closely at the Ask the students to look against standing a void. figures to been compared These zips have They vary in width, color, and intensity. the canvas, to applied directly strips were coral-colored The two while the of lie on top other three paint. the red of The surfaces built up paintings were Newman’s of layers using many and carefully. applied slowly paint that were • of this vast red standing in front that they were Ask students to close their eyes and imagine This painting is so large that when the viewer stands close she is engulfed in the environment it creates. fact, In in 1950, first solo exhibition at Newman’s the artist from advised, a note a distance. from look at large pictures to “There is a tendency in this exhi- The large pictures a short from be seen distance.” to intended bition are • painting. Read students the dimensions of this string. it out using Ask them to measure Newman insisted that his canvases were charged with charged symbolic were meaning. that his canvases insisted Newman the artists Piet Like information, Malevich (for more Kazimir and Mondrian 4 Art Ideas and Modern see [http://www.moma.org/modernteachers/]), of in the spiritual believed content Newman . evidence eliminated ofNewman of the action hand. the painter’s with work to preferred He broad, of expanses even color. intense Newman was an American painter, was an Newman sculptor, printmaker, at the same and writerworked who large, and painted time as Rothko. canvases. Rothko,York Like color-saturated New in he lived • title of this work, Read students the • to define Ask students •lines into the painting. scraped Rothko of horizon line. a sort creates This Ask students why • to the painting. Ask students how this title relates 15 19 . color , and 18 this guide by Kline,this guide by Frankenthaler, and or Pollock composition , (pamphlet) (New York: (pamphlet) (New Gallery, 1947). (New York: of(New The Museum Art, Modern 2003), pp. 221–22. shape , p. 196. The Ideographic Picture The Ideographic MoMA HighlightsMoMA Visions ofVisions Art Modern 16 In 1947,In of artworthy that any stated Newman should consideration 17

Mark Rothko,Mark in quoted Barnett Newman, Modern,“Barnett in Newman,”http://www.tate.org.uk/modern/exhibitions/newman/. quoted Barnett Newman, in quoted Barnett Newman, Modern,“Barnett in Tate Newman,”http://www.tate.org.uk/modern/exhibitions/newman/. quoted Rothko,Mark in quoted or Newman’s paintings? Why? paintings? or Newman’s feeling in paint, how might they do it? If time permits, their own non- have students create or ecstasy. or feeling such as work based on an emotion representational Ask them consider their use of to carefully students to consider the role of the viewer.Asthe role students to consider a viewer,“job”? what is your art.Ask at a work of art? something about themselves by looking Have they ever learned experience. their them to share might evoke a sense of place or environment.might evoke place? How does each work’s kind of What size, use of color,Ask students to spend a of place? and composition contribute to a sense few minutes writing about this, their ideas. then share

17. 18. 19. 15. 16. address “life,”“man,”“nature,”“death,”and “tragedy.” “life,”“man,”“nature,”“death,”and address 2. Compare and Contrast 2. Compare select one of students to Ask in the works work. or Newman’s these Rothko’s how They it to write comparing can consider an essay artists use paint. Similar? different? processes their working are How Newman said,Newman “The basis of that makes idea...the idea-complex an aesthetic act is the pure withcontact mystery—of life, of men, of nature, ofgrayer, the hard, that is tragedy. chaos softer that is death, black chaos it is only the idea that has meaning.” For or the this. means by students what they think Newman Ask trans- and Newman Rothko are How of the intentions are they making? How are choices What paint? lating ideas into these two of the intentions artists from different and Frankenthaler? Pollock • Ask students to consider these quotes. emotion or idea might they assign to Rothko’s What •feeling, Ask students to identify a powerful mood, or emotion. that to represent If they were • might mean by this. Rothko students and ask them to consider what Read this quote to Ask a 1957 interview,In stated, Rothko emo- basic human only in expressing interested “I’m tions—tragedy, ecstasy, doom. If relationships, only by...color miss the point.” moved you...are then you In 1952,In companionship, by lives picture stated,“A in the Rothko and quickening expanding ofeyes observer. the sensitive the same token. dies by It risky a send it act to is therefore It the world.” out into Newman believed that by looking at his work up close people could become more self- more become could up close people looking at his work that by believed Newman aware. said,“I He has the impact painting of my hope that giving someone, as it did me, the feeling of his own totality, of his own separateness, of his own individuality.” • at themselves by looking something about someone could learn how they think Ask students • at these two works closely, Now that your students have looked them how the paintings ask ACTIVITIES 1. Art and Ideas LESSONS 14 LESSONS 15 , Broken ObeliskBroken 4. Monuments . created also Newman called sculpture steel huge a created He 3. Art and Spirituality 3. Art and murals , in a chapel for created Rothko Texas, of one he considered which most his important works. this project. research to students Ask infuse his to did he attempt How withwork spirituality? which is in MoMA’s collection (see www.moma.org/collection). collection research students to Ask MoMA’s is in which ofthis work art. If to? is it a monument What a monument, create they had to what would it symbolize? would What it be?