When looking at his paintings you must, as the viewer, invest enough time in which to be drawn inwards. Long, uninterrupted, and quiet periods of time. This is to discover the potential of Rothko’s work. Scale is not the only reason for this effect, colour is also important. Although composition is what many may say is a driving force behind Rothko’s success we cannot let the sheer scale of these paintings go without praise.

Anyone could paint large if they really wanted. However, for most it is without purpose other than obsession, ego, or to grab attention from their peers. Rothko uses scale for its power to affect the viewer which, if you think about it, is the basal purpose of any artists’ motive. This is appose to documentation of a process or advertisement of personal emotion.

‘Untitled’ (1950-2), posted earlier, is a sublime example of Rothko’s key skills being ruthlessly demonstrated. The painting may manifest into many forms chosen by the viewer but for me it remains a burning horizon. White hot colours at its core pull us in and hold us to be wrapped by the surrounding hues. 

The ‘Seagram Murals’ were intended by Rothko to make the diners at the Four Seasons feel uncomfortable, and although this example doesn’t cause such emotions it does evoke reaction. Its hypnotic nature when studied closely, and more importantly, for long enough can make us appreciate the potential of colour and composition.

Alex Anderson

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