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Paintings on paper reveal another side of Rothko

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Paintings on paper reveal another side of Rothko

Mark Rothko, Untitled (seated figure in interior), c. 1938, watercolor on construction paper sheet.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


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Mark Rothko, Untitled (seated figure in interior), c. 1938, watercolor on construction paper sheet.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

It’s easy to interpret the large, dark paintings of Mark Rothko’s final months as bleak, the work of an artist whose long struggle with ill health and depression ended when he took his own life in 1970. Too easy, as it turns out. A series of lesser known pieces on paper in dreamy pastel hues from that same period counter an enduring narrative of gloom.

The intimate paintings are the pièce de résistance in a show at the National Gallery of Art in Washington running through March 31 that features more than 100 works on paper of an artist best known for towering color fields painted on canvas in the last two decades of his life. It will travel in May to the National Museum in Oslo for the artist’s retrospective in Scandinavia.

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Mark Rothko, Untitled, 1969, acrylic on wove paper mounted on linen overall.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


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Mark Rothko, Untitled, 1969, acrylic on wove paper mounted on linen overall.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

“I find them incredibly optimistic,” said Pace Gallery founder Arne Glimcher, a friend of Rothko’s who was his neighbor in New York. “There’s this immediate freshness and minimalist touch to those pictures where he lays the brush down in each color only one time or a couple times, and they’re not worked over like the oil paintings are.”

‘The interpretation is yours’

To conclude that the dark paintings are depressing and the light ones are happy is simply “mindless,” according to Glimcher.

Once, he recalls Rothko telling him, a woman came to the studio for a purchase. Rothko liked to pick himself the work he would sell to individual buyers, in an effort to match the painting to the person who would live with it. This time, he chose a piece redolent with burgundy, dark blue and rust. The woman was not pleased, asking instead for a bright red, yellow and orange painting, which she thought would be more cheerful.

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“And he said to the woman, ‘Red, yellow and orange, isn’t that the color of an inferno?’” Glimcher said. “So you see, the interpretation is yours, but it’s not necessarily his and it’s not necessarily what the work is about.”

Mark Rothko, Untitled, 1969, acrylic on wove paper.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


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ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


Mark Rothko, Untitled, 1969, acrylic on wove paper.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

In his black and gray paintings on paper, as well as a similar series in blacks and browns, Rothko was also investigating the use of a white edge — using masking tape, he created a sort of frame that’s absent in other paintings.

“Other paintings are like weather coming across the plains, coming into the face,” Glimcher said. “And as soon as you put the white edge around them, you’re looking at something that could be interpreted as a landscape.”

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The ‘essence’ of a life’s work

Glimcher sees in the darker works an artist distilling his oeuvre to “a kind of essence.”

“It’s a natural effect in an artist’s career that they become more and more subtle,” he said, citing Picasso and Matisse as other examples.

Mark Rothko, Baptismal Scene, 1945, watercolor and graphite pencil on paper.

Digital Image © Whitney Museum/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


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Mark Rothko, Baptismal Scene, 1945, watercolor and graphite pencil on paper.

Digital Image © Whitney Museum/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

The National Gallery’s show also provides a chronological sample of Rothko’s evolution as an artist. Portraits and landscapes in the 1930s that reference European impressionists like Paul Cézanne give way to surrealist compositions of the 1940s that recall Yves Tanguy or Joan Miró.

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Origin story

By 1949, Rothko was experimenting with what became his recognizable format. In one painting, soft-edged horizontal rectangles glow atop a sunny background.

Mark Rothko, Untitled, c. 1949, oil and watercolor on watercolor paper.

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Mark Rothko, Untitled, c. 1949, oil and watercolor on watercolor paper.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

“Over the course of the late ’40s, Rothko decided that recognizable imagery should be pulverized, that the best way to communicate directly with a viewer was to reduce his compositions to pure color and form,” explained Adam Greenhalgh, curator of the show, which travels in May to the National Museum in Oslo for the artist’s retrospective in Scandinavia.

Paintings on canvases dominated Rotkho’s work during the next decade. In 1958, he accepted a commission to paint murals for the Four Seasons restaurant in New York’s Seagram building, hoping the pieces would always be shown as a group. What became known as the Seagram Murals were also his first series to focus on a dark palette of browns, blacks and reds.

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Vibrant palette

Ultimately, Rothko grew disillusioned with the project and abandoned it. He then turned back to paper, where the full range of his palette comes through in vibrant yellows, oranges, reds and blues.

“These paintings pulse. They shimmer. They swell. They recede. They’re magnetic and compelling,” said Greenhalgh, the curator.

Mark Rothko, Untitled, 1958, oil on watercolor paper mounted on hardboard.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko


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Mark Rothko, Untitled, 1958, oil on watercolor paper mounted on hardboard.

ShootArt Mobile 1/Copyright © 2023 Kate Rothko Prizel and Christopher Rothko

After suffering an aortic aneurysm in early 1968, Rothko worked mainly on paper, creating mostly smaller works.

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He used dynamic brushstrokes, using quick-drying acrylic and ink.

Peering into Rothko’s hazy rectangles of color can be such a visceral experience that some liken it to a spiritual one. Art collector Duncan Phillips, who helped introduce modern art to the United States, used the word “chapel” to describe the room of three Rothko paintings in America’s first modern art museum, the Phillips Collection in Washington, D.C. And Houston is home to an actual Rothko Chapel. These are non-denominational sanctuaries of sorts, where the visitor is called upon to meditate and turn inwards.

As Rothko once put it, “The people who weep before my pictures are having the same religious experience I had when I painted them.”

The radio and digital versions of this story were edited by Jennifer Vanasco. The radio version was produced by Mansee Khurana.

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‘Scream 7’ takes a weak stab at continuing the franchise : Pop Culture Happy Hour

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‘Scream 7’ takes a weak stab at continuing the franchise : Pop Culture Happy Hour

Neve Campbell in Scream 7.

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The OG Scream Queen Neve Campbell returns. Scream 7 re-centers the franchise back on Sidney Prescott. She has a new life, a family, and lots of baggage. You know the drill: Someone dressing up as the masked slasher Ghostface comes for her, her family and friends. There’s lots of stabbing and murder and so many red herrings it’s practically a smorgasbord.

Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopculture

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Smoke a joint and get deep with flowers at this guided floral design workshop in DTLA

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Smoke a joint and get deep with flowers at this guided floral design workshop in DTLA

Abriana Vicioso is the host of the Flower Hour, which takes place monthly.

(Jennifer McCord / For The Times)

Each flower carries a personal history. For Abriana Vicioso, the calla lily was her parents’ wedding flower — a symbol of her mother’s beauty. “She had this big, beautiful white calla lily in her hair,” Vicioso says. “I love my parents. They’re the reason I’m here. I’ll never forget where I came from.”

The Flower Hour begins with Vicioso announcing, with a warm smile: “Today is about touching grass.” The florist-by-trade gestures behind her to hundreds of flowers contained in buckets — blue thistles, ivory anemones and calla lilies painted silver — all twisted and unfurling into the air. “Tonight is going to be so sweet and intimate,” Vicioso says, eyeing the beautiful chaos at her feet. A grin buds across her face.

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Moments before the workshop, participants sit at candlelit tables exchanging horoscopes and comparing their favorite flowers. A mention of the illustrious bird-of-paradise flower elicits coos and awe from the women. Izamar Vazquez, who is from Jalisco, Mexico, reveals her fondness for roses, which make her feel connected to her Mexican roots.

Vicioso hosts her flower-themed wellness workshop near the iconic Original Los Angeles Flower Market in downtown L.A. In January, the first Flower Hour event sold out, prompting her to make it a monthly series. Vicioso describes the event as a “three-part journey” where participants are invited to drink herbal tea, smoke rose-petal-rolled cannabis joints and create a floral arrangement. “The guide is to connect with the medicine of flowers,” Vicioso says.

Rose petal joints, tea and flower arranging are all part of The Flower Hour event's offerings.
Herbal tea is part of the event's offerings.
Floral arranging is the main activity.

Rose petal joints, tea and flower arranging are all part of The Flower Hour event’s offerings.

The event is hosted at the Art Club, a membership-based co-working space. “The Flower Hour is really beautiful. Everyone gets to explore their creativity while meeting new people,” says Lindsay Williams, the co-owner of the Art Club.

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The idea for Flower Hour came to Vicioso during a conversation with her mother. “We joke all the time that flowers were destined to make their way into my life,” she says. She works as a florist and models on the side, even appearing in the pages of Vogue. Vicioso grew up in a Caribbean household, where flowers and offerings were part of daily life. “In my culture and religion, a lot of my family practices — an Afro-Caribbean religion — we build altars.”

Like many cultures, flowers carry sentimental value in her religion. “I’m Caribbean, so a lot of my family practices a Yoruba religion, which comes from Africa. In the Caribbean, it’s well known as Santería.”

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After a difficult year and a breakup, Vicioso wanted to marry her love of flowers with community building. Because Vicioso uses cannabis medicinally, the workshop naturally includes a smoking component. “My family has smoked cannabis for a lot of reasons for a long time. It’s a really healing plant,” she explains.

In the workshop, even the cannabis gets the floral treatment. Vicioso presents her rose-petal-wrapped joints on a silver platter at each table. She rolled each by hand. “If you’ve never smoked a rose-petal-rolled joint, the difference with this is it’s going to have roses that have a slight tobacco effect,” she announces.

During the workshop, Vicioso stresses the importance of buying cannabis from local vendors. The cannabis provided was purchased from a Northern Californian vendor. The wellness workshop aims to reclaim the healing ritual of smoking cannabis. “This is a plant that has been commercialized,” Vicioso says. “There’s a lot of Black and Brown people who are in jail for this plant.”

The resulting workshop is what Vicioso describes as “an immersive wellness experience that is the intersection of wellness, creativity, community and an appreciation of flowers.” The workshop serves as a reminder to enjoy Earth’s innate beauty in the form of flowers — including cannabis. “It’s this gift that the universe gave us for free and that I have this deep connection with,” Vicioso says.

Conversation cards to generate discussion among participants (left). The workshop serves as a "third space" for Angelenos to engage in tactile creativity and community building outside of traditional nightlife settings.
LOS ANGELES, CA -- FEBRUARY 22, 2026: Participants smoke marijuana during The Flower Hour, a floral design workshop + floral smoke sesh at The ArtClub in downtown. Photographed on Sunday, February 22, 2026. (Jennifer McCord / For The Times)
LOS ANGELES, CA -- FEBRUARY 22, 2026: The Flower Hour is a floral design workshop + floral smoke sesh at The ArtClub in downtown. Photographed on Sunday, February 22, 2026. (Jennifer McCord / For The Times)

Conversation cards to generate discussion among participants (top, letf). The workshop serves as a “third space” for Angelenos to engage in tactile creativity and community building outside of traditional nightlife settings.

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After enjoying lavender chamomile tea and smoking a joint, Vicioso introduces the flowers to the group before inviting them to pick their own. She emphasizes each flower’s personality traits, describing green dianthus as a “Dr. Seuss” plant. Then, there are calla lilies with their “main character moment.” It gets personal. “Start thinking of a flower in your life that you can discover,” she says. “If you’re feeling like you need inspiration, you can always remember that these flowers have stories.”

Vicioso infuses wisdom into her instruction on floral arrangements: There are no mistakes. Let the flowers tell you where they want to go, she urges. Intuition will be your guide — the wilder, the better.

“Hecho in Mexico” reads a sticker on a bunch of green stems. “Like me,” says Vazquez with a laugh. “They’re all doing their own thing. Like a family,” she says later, arranging stems.

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The Flower Hour participants and Vicioso, center, chat as they build their own floral arrangements.

The Flower Hour participants and Vicioso, center, chat as they build their own floral arrangements at the sold-out event.

Two participants — Vazquez and Rebeca Alvarado — are friends who run a floral design company together called Izza Rose. Like Vicioso, the friends have a connection to flowers through their Latin American culture. They met Vicioso in the floral industry and were overjoyed to discover her workshop.

“This is a great way to connect with other people,” says Vazquez.

Alvarado agrees, adding: “You’re getting to know people outside of going to bars. You can connect in different ways when there’s an activity.”

Vazquez uses flowers to stay connected to her Mexican heritage, adding that she prefers to support Mexican vendors. In recent months, the downtown L.A. flower market has struggled to recover from ongoing ICE raids. “Some are scared to come back,” says Vazquez.

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Hand-rolled cannabis joints wrapped in rose petals are presented on a silver platter at The ArtClub (top, right). The Flower Hour aims to reclaim the healing rituals of cannabis and flowers.
LOS ANGELES, CA -- FEBRUARY 22, 2026: The Flower Hour is a floral design workshop + floral smoke sesh at The ArtClub in downtown. Photographed on Sunday, February 22, 2026. (Jennifer McCord / For The Times)
LOS ANGELES, CA -- FEBRUARY 22, 2026: The Flower Hour is a floral design workshop + floral smoke sesh at The ArtClub in downtown. Photographed on Sunday, February 22, 2026. (Jennifer McCord / For The Times)

Hand-rolled cannabis joints wrapped in rose petals are presented on a silver platter at The ArtClub (top, right). The Flower Hour aims to reclaim the healing rituals of cannabis and flowers.

Another participant, Barbara Rios, was attracted to the workshop for stress relief. “You can hang out with your friends, but it’s nice to do things with your hands,” she says. “I work a stressful job, and it’s nice to have that third space that we’re all craving.”

On this February night, the participants were predominantly women, save for one man. In the future, Vicioso hopes that more men learn to engage with flowers. “There’s a statistic about men receiving flowers for the first time at their funerals, and I think we have changed that,” she says.

To conclude the workshop, Vicioso encourages participants to build lasting friendships and incorporate flower arranging into their daily practice — even if it’s just with a small, inexpensive bouquet.

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“Get some flowers together, go to the park, hang out with each other and hang out with me,” she says. Participants leave with flower arrangements in hand. In the darkness of the night air, it briefly looks as though the women carry silver calla lilies that are blooming from their palms.

A finished floral arrangement.

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‘Wait Wait’ for February 28. 2026: Live in Bloomington with Lilly King!

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‘Wait Wait’ for February 28. 2026: Live in Bloomington with Lilly King!

An underwater view shows US’ Lilly King competing in a heat of the women’s 200m breaststroke swimming event during the Paris 2024 Olympic Games at the Paris La Defense Arena in Nanterre, west of Paris, on July 31, 2024. (Photo by François-Xavier MARIT / AFP) (Photo by FRANCOIS-XAVIER MARIT/AFP via Getty Images)

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This week’s show was recorded in Bloomington, Indiana with host Peter Sagal, judge and scorekeeper Bill Kurtis, Not My Job guest Lilly King and panelists Alonzo Bodden, Josh Gondelman, and Faith Salie. Click the audio link above to hear the whole show.

Who’s Bill This Time

State of the Union is Hot; The Tribal Council Convenes Again; A Glow Up In the Doll Aisle

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Panel Questions

The Toot Tracker

Bluff The Listener

Our panelists tell three stories about a travel hack in the news, only one of which is true.

Not My Job: Olympic Swimmer Lilly King answers our questions about Lil’ Kings

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Olympic Swimmer Lilly King plays our game called, “Lilly King meet these Lil’ Kings” Three questions about short kings.

Panel Questions

Cleaning Out The Cabinet; Bedtime Stacking

Limericks

Bill Kurtis reads three news-related limericks: Getting Cozy With Cross Country Skiing; Pickleball’s New Competition; Bees Get Freaky

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Lightning Fill In The Blank

All the news we couldn’t fit anywhere else

Predictions

Our panelists predict, after American Girls, what’ll be the next toy to get an update.

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