No. 14, 1960 By Mark Rothko
I recently visited San Francisco’s Museum of Modern Art, where I saw Mark Rothko’s No. 14, 1960.
This was my first time seeing a Rothko in person, but I had heard a lot about his work; I had heard about Rothko’s ability to convey such raw, deep emotions within people, through seemingly simplistic works of art. This piece, in particular, is a large oil on canvas work that spans across a whole wall. Its expansiveness is made of two rectangles of color: an orange-red and navy blue. Behind these two spreads of red and blue a solid brown background. The two frontal splotches of color are loosely blended with wide brushstrokes that almost remind me of the opagueness of impressionist paintings. Much like impressionist paintings, such as Claude Monet’s Saint-Lazare Station, Rothko utilizes messy, yet calculated brushstrokes that create a fogginess.
I find the choice of colors and sizes of their rectangles very important. The upper rectangle, an orange-red, takes up more of the canvas that the navy blue that is on the bottom. The orange-red clearly stands out, drawing the viewer in, while the dark blue feels cold and isolated. The mundane background goes completely unnoticed, emphasizing the red as a focal point.
In terms of emotion, the work definitely arouses an emotional response from viewers. For me, I immediately felt “off” when I first encountered the work. I would not say that I can exactly pinpoint what I was feeling, but it was something along the lines of anxiety. For some reason, the overbearing orange-red rectangle illuminates emotions of nervousness. At the same time, the overlooked blue rectangle seems forgotten and alone.
While I am not sure how this work can evoke such strong emotions in a viewer, I can say that No. 14, 1960 does make one think.
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