text:
Irish
Finglas
Dublin
New Island Books
Goold-Verschoyle
family saga
Brian Goold-Verschoyle
Brian Goold-Verschoyle
MV Kerlogue
Roddy Doyle
Patrick McCabe
Author's website
Author's website

categories: 1959 births,Irish male novelists,Irish poets,20th-century Irish writers,People from County Dublin,Irish novelists,20th-century male writers,21st-century Irish writers,Aosdána members,Living people

paragraph: Dermot Bolger

paragraph: Dermot Bolger (born 1959) is an Irish novelist, playwright and poet born in Finglas, a suburb of Dublin.

paragraph: His work is often concerned with the articulation of the experiences of working-class characters who, for various reasons, feel alienated from society. Bolger questions the relevance of traditional nationalist concepts of Irishness, arguing for a more plural and inclusive society. In 1977 Bolger set up Raven Arts Press, which he ran until 1992, when he co-founded New Island Books. In May 2010 his wife, Bernie, died.

paragraph: Section::::Writings.

paragraph: Night Shift (1985 in literature|1985)

paragraph: This is Bolger's first novel (or novella?). The central protagonist is Donal, a young man from Finglas who works the night shift in a local factory. Donal's girlfriend, Elizabeth, is pregnant and they both live in a caravan at the foot of her parents' garden. Needless to say, her parents are hardly thrilled at the situation and Donal works hard to improve the life he shares with Elizabeth. This is a complex narrative, containing meditations on the prospects for young people in 1980s Ireland and the rupture between tradition (as represented by Elizabeth's family and those in authority) and the future (as represented by Donal and Elizabeth). Whilst the ending is not what one could describe as happy, it is hopeful in that Donal begins to achieve a degree of clarity about his life, including his relationship with Elizabeth, his relationship with society, and, ultimately, what it will mean to be Irish in the latter part of the 20th century. This novel introduces many of the themes that will resurface in much of Bolger's later writing.

paragraph: The Journey Home (1990 in literature|1990)

paragraph: "The Journey Home" was originally published by Penguin and was a controversial Irish bestseller. It was later re-issued by Flamingo/HarperCollins. Eighteen years after its publication, it was published in the United States by The University of Texas Press and received the lead front cover review on the "New York Times" Book Review section. The "Irish Times" said of it: "All 1990s life is there – drink, drugs, political corruption – all the words which have been repeated so often now that they have lost their power to shock. Here, they shock."

paragraph: The Family on Paradise Pier (2005)

paragraph: "The Family on Paradise Pier" starts in the tranquil idyll of a Donegal village in 1915 and follows the journeys of one Irish family through the War of Independence, the General Strike in Britain, the dangerous streets of 1930’s Moscow, the Spanish Civil War and on to Soviet gulags, Irish Internment camps and London during the Blitz. The Goold-Verschoyle children are born into a respected freethinking Protestant family in a Manor House alive with laughter, debate and fascinating guests. But the world of picnics and childish infatuations is soon under threat as political changes within Ireland and the wider world encroach upon their private paradise.

paragraph: The Family on Paradise Pier tries to show how quickly a family and a class can find themselves displaced and considered foreigners within their own land, with a new generation forced to invent new roles in which to belong. For Eva the dream is to be an artist, yet her fragile vision cannot cope with first love or the reality of London art school. She finds herself married into a stiff Anglo-Irish family, struggling with growing debts and with trying to keep open her soul to the new perceptions while yearning for personal freedom.

paragraph: Politics is how Eva’s brothers make sense of their new world. The eldest son, Art, rejects his inheritance to become a hard-line Marxist. Isolating himself from his family, he tries to belong among the poor, a party agitator working as a manual labourer in Dublin, Moscow and London. Brendan, the carefree and less fanatical younger brother, also embraces communism until confronted by its harsh realities in the Spanish Civil War with consequences that will haunt and divide his family.

paragraph: Based on real-life people, this family saga grows into a kaleidoscopic portrait of the lives, dreams and tensions of a generation finding their own paths in life between the World Wars. Bolger recreates a family in flux, driven by idealism, racked by argument and united by love and the vivid memories of childhood. The character Brendan is based on Brian Goold-Verschoyle who died in a Soviet gulag and Art is based on the real-life Irish communist Neil Goold-Verschoyle. Eva is based on Sheila Fitzgerald ("née" Goold-Verschoyle; 1903–2000) and the novel itself has its origins in tape recordings that the author made in her caravan in 1992.

paragraph: Father's Music (1997)

paragraph: “Music is the pulse of Tracey Evan's life, its beat luring her through dance clubs and rave parties, a seemingly free-spirited 22-year-old London college drop out who laps up the late-night, often ecstasy-induced, pleasures of that city. Yet behind her tough street-wisdom and promiscuity, lurk layers of vulnerability and self-loathing. Her spirit is still in thrall to a past she cannot quit and to memories she cannot obliterate, even by living on a knife-edge of risk.

paragraph: That risk is never greater than when she enters into an uninhibited world of sexual games and fantasies with Luke Duggan, a married Irish businessman living in London. At once loathsome and tender, the chameleon-like Luke is torn apart by the alternating currents of his infamous Dublin criminal family, from whom he has tried to distance himself.

paragraph: When family responsibilities force Luke to return to Dublin, taking Tracey with him, their games of risk and chance become frighteningly real. It is her first visit to Ireland, except for a brief, traumatic childhood excursion to seek her father, a wandering traditional musician from Donegal who vanished after Tracey's birth. Now, as Tracey tries to thread a path through the dangerous criminal underbelly of a drug-ridden city, primed to explode, the answers to her questions about herself, her lost father and Luke's ultimate motives become gradually and terrifying intertwined.

paragraph: In this psychological thriller, Dermot Bolger has fashioned a portrait of a young woman's search for truth in a sea of moral ambuguity, where she can be certain of nothing, least of all her own feelings.

paragraph: Other novels:

paragraph: BULLET::::- 1987 and 1991: "The Woman’s Daughter"

paragraph: BULLET::::- 1992: "Emily’s Shoes"

paragraph: BULLET::::- 1994: "A Second Life"

paragraph: BULLET::::- 2000: "Temptation"

paragraph: BULLET::::- 2007: "The Valparaiso Voyage"

paragraph: BULLET::::- 2005: "The Family on Paradise Pier" (a story about Brian Goold-Verschoyle)

paragraph: BULLET::::- 2010: "New Town Soul"

paragraph: BULLET::::- 2012: "The Fall of Ireland"

paragraph: BULLET::::- 2015: "Tanglewood"

paragraph: BULLET::::- 2016: "The Lonely Sea and Sky" (a coming of age novel about the wartime rescue by the Irish ship, The MV Kerlogue)

paragraph: BULLET::::- 2018: "An Ark of Light" (this standalone novel tells the story of the later half of the life of Eva Fitzgerald - née Goold-Verschoyle - the central figure in Bolger's 2005 novel, "The Family on Paradise Pier".

paragraph: Section::::Plays.

paragraph: BULLET::::- 1989: "The Lament for Arthur Cleary"

paragraph: BULLET::::- 1990: "Blinded by the Light"

paragraph: BULLET::::- 1990: "In High Germany"

paragraph: BULLET::::- 1990: "The Holy Ground"

paragraph: BULLET::::- 1991: "One Last White Horse"

paragraph: BULLET::::- 1994: "A Dublin Bloom"

paragraph: BULLET::::- 1995: "April Bright"

paragraph: BULLET::::- 1999: "The Passion of Jerome"

paragraph: BULLET::::- 2000: "Consenting Adults"

paragraph: BULLET::::- 2004: "A Dublin Bloom" (full production - Chicago)

paragraph: BULLET::::- 2005: "From these Green Heights"

paragraph: BULLET::::- 2006: "The Townlands of Brazil"

paragraph: BULLET::::- 2007: "Walking the Road"

paragraph: BULLET::::- 2008: "The Consequences of Lightning"

paragraph: BULLET::::- 2010: "The Parting Glass*" (This stand-alone play is a follow-up, 20 years on, about the life of Eoin, the emigrant narrator of Bolger's earlier play, "In High Germany".)

paragraph: BULLET::::- 2012: "Tea Chests and Dreams"

paragraph: BULLET::::- 2012: "Ulysses: a stage adaptation of James Joyce's novel" (Produced by the Tron Theatre, Glasgow, which toured Scotland and China)"

paragraph: BULLET::::- 2017: "Ulysses: a revised and expanded stage adaption of Joyce's novel" (Premiered at the Abbey Theatre, Dublin, as part of the 2017 Dublin Theatre Festival, Oct 2017)

paragraph: BULLET::::- 2017: "Bang Bang"

paragraph: BULLET::::- 2019: "Last Orders at the Dockside" Forthcoming production announced by the Abbey Theatre for the 2019 Dublin Theatre Festival

paragraph: Section::::Poetry.

paragraph: BULLET::::- 1980: "The Habit of Flesh", Raven Arts Press

paragraph: BULLET::::- 1981: "Finglas Lilies", Raven Arts Press

paragraph: BULLET::::- 1982: "No Waiting America", Raven Arts Press

paragraph: BULLET::::- 1986: "Internal Exiles", Dublin: Dolmen

paragraph: BULLET::::- 1989: "Leinster Street Ghosts", Raven Arts Press

paragraph: BULLET::::- 1998: "Taking my Letters Back", Dublin: New Island Books

paragraph: BULLET::::- 2004: "The Chosen Moment", Dublin: New Island Books

paragraph: BULLET::::- 2008: "External Affairs", Dublin: New Island Books, 80 pages.

paragraph: BULLET::::- 2012: "The Venice Suite: A Voyage Through Loss", Dublin: New Island Books.

paragraph: BULLET::::- 2015: "That Which is Suddenly Precious: New & Selected Poems", Dublin: New Island Books.

paragraph: Section::::Research work.

paragraph: BULLET::::- Alain Mouchel-Vallon, "La réécriture de l'histoire dans les Romans de Roddy Doyle, Dermot Bolger et Patrick McCabe" (PhD thesis, 2005, Reims University, France).

paragraph: BULLET::::- Damien Shortt, "The State of the Nation: Paradigms of Irishness in the Drama and Fiction of Dermot Bolger" (PhD thesis, 2006, Mary Immaculate College, University of Limerick, Ireland).

paragraph: BULLET::::- Ryan, Ray. "Ireland and Scotland: Literature and Culture, State and Nation, 1966–2000." Oxford University Press, 2002.

paragraph: BULLET::::- Paschel, Ulrike: "No Mean City?: the image of Dublin in the novels of Dermot Bolger, Roddy Doyle and Val Mulkerns". Frankfurt am Main [u.a.]: Lang, 1998. – X, 170 S. (Aachen British and American studies; 1).

paragraph: BULLET::::- Merriman, Vic: "Staging contemporary Ireland: heartsickness and hopes deferred". In: Shaun Richards (ed.), "The Cambridge Companion to Contemporary Irish Drama". Cambridge: Cambridge University Press, 2004; pp. 244–257 (On "The Lament for Arthur Cleary", 1989).

paragraph: BULLET::::- Murphy, Paul: "Inside the immigrant mind : nostalgic versus nomadic subjectivities in late twentieth-century Irish drama". In: "Australasian Drama Studies", 43 (October 2003), pp. 128–147 (On "A Dublin Quartet").

paragraph: BULLET::::- Tew, Philip: "The lexicon of youth in Mac Laverty, Bolger, and Doyle: Theorizing contemporary Irish fiction via Lefebvre's Tenth Prelude". In: "Hungarian Journal of English and American Studies", 5:1 (1999), pp. 181–197.

paragraph: BULLET::::- Harte, Liam: "A kind of scab: Irish identity in the writings of Dermot Bolger and Joseph O'Connor". In: "Irish Studies Review", 20 (1997 autumn), pp. 17–22.

paragraph: BULLET::::- MacCarthy, Conor: "Ideology and geography in Dermot Bolger's The Journey Home". In: "Irish University Review", 27:1 (1997 Spring-Summer), pp. 98–110.

paragraph: BULLET::::- Merriman, Vic: "Centring the wanderer: Europe as active imaginary in contemporary Irish theatre". In: "Irish University Review: a journal of Irish studies", 27:1 (1997 Spring-Summer), pp. 166–181 (On "The Lament for Arthur Cleary").

paragraph: BULLET::::- Aragay, Mireia: "Reading Dermot Bolger's The Holy Ground: national identity, gender and sexuality in post-colonial Ireland". In: "Links and Letters", 4 (1997), pp. 53–64.

paragraph: BULLET::::- Turner, Tramble T.: "Staging signs of gender". In: John Deely (ed.), "Semiotics 1994: Annual proceedings volumes of the Semiotic Society of America". 19. New York: Lang, 1995. pp. 335–344 (On "The Lament for Arthur Cleary", 1989).

paragraph: BULLET::::- Dantanus, Ulf.: "Antæus in Dublin?" In: "Moderna språk" (97:1), 2003, pp. 37–52.

paragraph: BULLET::::- Battaglia, Alberto.: "Dublino: oltre Joyce". Milan: Unicopli, 2002. pp. 130 (Città letterarie).

paragraph: BULLET::::- Dumay, Émile-Jean.: "Dermot Bolger dramaturge". In: "Études irlandaises" (27:1) 2002, pp. 79–92.

paragraph: BULLET::::- Dumay, Émile-Jean.: "La subversion de la nostalgie dans The Lament for Arthur Cleary de Dermot Bolger". In: "Études irlandaises" (21:2) 1996, pp. 111–23.

paragraph: BULLET::::- Fiérobe, Claude: "Irlande et Europe 1990: The Journey Home de Dermot Bolger". In: "Études irlandaises" (19:2) 1994, pp. 41–49.

paragraph: BULLET::::- Kearney, Colbert: "Dermot Bolger and the dual carriageway". In: "Études irlandaises" (19:2), 1994, pp. 25–39.

paragraph: BULLET::::- Shortt, Damien: "A River Runs Through It: Irish History in Contemporary Fiction, Dermot Bolger and Roddy Doyle". In: Paddy Lyons; Alison O'Malley-Younger (eds), "No Country for Old Men: Fresh Perspectives on Irish Literature". Frankfurt am Main [u.a.] Oxford u.a.: Lang, 2009. pp. 123–141 (Reimagining Ireland; 4).

paragraph: BULLET::::- Murphy, Paula: "From Ballymun to Brazil: Bolger's Postmodern Ireland". In: Eamon Maher ... (eds), "Modernity and Postmodernity in a Franco-Irish Context". Frankfurt am Main [u.a.]: Lang, 2008. pp. 161–178 (Studies in Franco-Irish Relations; 2).

paragraph: BULLET::::- Shortt, Damien: "Dermot Bolger: Gender Performance and Society". In: Paula Murphy... (eds), "New Voices in Irish literary Criticism". Lewiston, N.Y.; Lampeter: Edwin Mellen, 2007. pp. 151–166.

paragraph: BULLET::::- Brihault, Jean: "Dermot Bolger, romancier de la mondialisation?" In: Yann Bévant ... (eds), "Issues of Globalisation and Secularisation in France and Ireland". Frankfurt, M. [u.a.]: Lang, 2009. pp. 101–122 (Studies in Franco-Irish Relations; 3).

paragraph: BULLET::::- Wald, Christina: "Dermot Bolger". In: Martin Middeke (ed.), "The Methuen Drama Guide to Contemporary Irish Playwrights", London: Methuen Drama, 2010. pp. 19–36.

paragraph: BULLET::::- Shortt, Damien: "Who put the ball in the English net: the privatisation of Irish postnationalism in Dermot Bolger's In High Germany". In: Irene Gilsenan Nordin; Carmen Zamorano Llena (eds), "Redefinitions of Irish identity: a postnationalist approach". Frankfurt, M. [u.a.]: Lang, 2010. pp. 103–124 (Cultural identity studies; 12).

paragraph: BULLET::::- Imhof, Rüdiger: "Dermot Bolger". In: "The Modern Irish Novel: Irish Novelists after 1945". Rüdiger Imhof. Dublin : Wolfhound Press, 2002. pp. 267–285.

paragraph: BULLET::::- Murphy, Paula: "Scattering us like seed: Dermot Bolger's postnationalist Ireland". In: Irene Gilsenan Nordin; Carmen Zamorano Llena (eds), "Redefinitions of Irish Identity: a postnationalist approach". Frankfurt, M. [u.a.]: Lang, 2010. pp. 181–199 (Cultural identity studies; 12).

paragraph: BULLET::::- Schreiber, Mark: "Playing it out – football and Irishness in contemporary Irish drama". In: Sandra Mayer; Julia Novak; Margarete Rubik (eds), "Ireland in Drama, Film, and Popular Culture : Festschrift for Werner Huber". Trier: WVT Wissenschaftlicher Verl. Trier, 2012. pp. 83–89.

paragraph: BULLET::::- Murphy, Paula: " 'Marooned men in foreign cities': encounters with the Other in Dermot Bolger's The Ballymun Trilogy". In: Pilar Villar-Argáiz (ed), "Literary visions of multicultural Ireland: The immigrant in contemporary Irish literature". Manchester: Manchester University Press, 2014. pp. 151–162.

paragraph: BULLET::::- Salis, Loredana: "Goodnight and joy be with you all: tales of contemporary Dublin city life". In: Pilar Villar-Argáiz (ed), "Literary visions of multicultural Ireland: The immigrant in contemporary Irish literature". Manchester: Manchester University Press, 2014. pp. 243–254.

paragraph: BULLET::::- Schrage-Früh, Michaela: "Like a foreigner / in my native land: transculturality and Otherness in twenty-first-century Irish poetry". In: Pilar Villar-Argáiz (ed), "Literary visions of multicultural Ireland: The immigrant in contemporary Irish literature". Manchester: Manchester University Press, 2014. pp. 163–175.

paragraph: BULLET::::- Mikowski, Sylvie: "Dermot Bolger et la Raven Arts Press: A loose coalition for change". In: Genet, Jacqueline (ed), "Le livre en Irlande: l'imprimé en contexte". Caen: Presses Univ. de Caen, 2006. pp. 137–146.

paragraph: BULLET::::- O'Brien, Cormac: "Unblessed Amongst Women: Performing Patriarchy Without Men in Contemporary Irish Theatre". In: Christopher Collins; Mary P. Caulfield (eds), "Ireland, Memory and Performing the Historical Imagination". Basingstoke: Palgrave Macmillan, 2014. pp. 190–195.

paragraph: BULLET::::- Grene, Nicholas: "Snapshots : A year in the life of a theatre judge". In: Donald E. Morse (ed), "Irish theatre in transition : from the late nineteenth to the early twenty-first century". Basingstoke: Palgrave Macmillan, 2015. pp. 175–176.

paragraph: BULLET::::- Müller, Sonja: "Von der georgianischen Ära bis zum Zeitalter des keltischen Tigers: der Wandel der Stadtdarstellung im Dublinroman". Berlin: Lit, 2015. – pp. 263–285 (Erlanger Studien zur Anglistik und Amerikanistik; 16).

paragraph: BULLET::::- Kilroy, Claire: "Dermot Bolger: Tanglewood". In: "Times Literary Supplement" (5857) 2015, pp. 26.

paragraph: BULLET::::- Phillips, Terry: "Irish Literature and the First World War: Culture, Identity and Memory". Frankfurt am Main [u.a.] Oxford u.a.: Lang, 2015. pp. 255–260, 261 (Reimagining Ireland; 72). (On "Walking the Road").

paragraph: BULLET::::- Hanrahan, Anna: "Narrating the Ballymun Experience in Dermot Bolger's Ballymun Trilogy". Trier : Wissenschaftlicher Verlag Trier, 2016. pp. 99–114 (Irish Studies in Europe; 7). .

paragraph: Section::::External links.

paragraph: Portrait of Dermot Bolger by Olivier Favier https://www.flickr.com/photos/olivierfavier/3795820756/

paragraph: Author's website

paragraph: Section::::References.

paragraph: BULLET::::1.  Author's website

description: Irish writer

wikidata_label: Dermot Bolger

wikipedia_title: Dermot Bolger


text:
Greek
Hellenized
Phoenician
geographer
cartographer
mathematician
Claudius Ptolemy
Geography
Tyre
Roman
province
Syria
Claudius Ptolemy
Geography
Arab
al-Masʿūdī
latitude
longitude
zero meridian
Isles of the Blessed
Canary
Cape Verde Islands
Rhodes
stadia
Roman Empire
China
equirectangular projection
World Ocean
Europe
Asia
Africa
Thule
Norway
Agisymba
Tropic of Capricorn
Isles of the Blessed
Canaries
China
Antarctic
Arctic Circle
List of Graeco-Roman geographers
Brill's New Pauly

categories: 70 births,Syrian geographers,Ancient Greek cartographers,Ancient Greek geographers,130 deaths,Syrian cartographers,Ancient Greek writers,Roman-era geographers

paragraph: Marinus of Tyre

paragraph: Marinus of Tyre (, "Marînos ho Týrios";  70–130) was a Greek or Hellenized, possibly Phoenician, geographer, cartographer and mathematician, who founded mathematical geography and provided the underpinnings of Claudius Ptolemy's influential "Geography".

paragraph: Section::::Life.

paragraph: Marinus was originally from Tyre in the Roman province of Syria. He and his work were a precursor to that of the great geographer Claudius Ptolemy, who used Marinus's work as a source for his "Geography" and acknowledges his great obligations to him. Ptolemy said, "Marinus says of the merchant class generally that they are only intent on their business, and have little interest in exploration, and that often through their love of boasting they magnify distances." Later, Marinus was also cited by the Arab geographer al-Masʿūdī. Beyond this, little is known of his life.

paragraph: Section::::Legacy.

paragraph: Marinus's geographical treatise is lost and known only from Ptolemy's remarks. He introduced improvements to the construction of maps and developed a system of nautical charts. His chief legacy is that he first assigned to each place a proper latitude and longitude. His zero meridian ran through the westernmost land known to him, the Isles of the Blessed around the location of the Canary or Cape Verde Islands. He used the parallel of Rhodes for measurements of latitude. Ptolemy mentions several revisions of Marinus's geographical work, which is often dated to  114 although this is uncertain. Marinus estimated a length of 180,000 stadia for the equator, roughly corresponding to a circumference of the Earth of 33,300 km, about 17% less than the actual value.

paragraph: He also carefully studied the works of his predecessors and the diaries of travelers. His maps were the first in the Roman Empire to show China. He also invented equirectangular projection, which is still used in map creation today. A few of Marinus's opinions are reported by Ptolemy. Marinus was of the opinion that the World Ocean was separated into an eastern and a western part by the continents of Europe, Asia and Africa. He thought that the inhabited world stretched in latitude from Thule (Norway) to Agisymba (around the Tropic of Capricorn) and in longitude from the Isles of the Blessed (around the Canaries) to Shera (China). Marinus also coined the term Antarctic, referring to the opposite of the Arctic Circle.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Graeco-Roman geographers

paragraph: Section::::References.

paragraph: BULLET::::- Attribution

paragraph: BULLET::::- A. Forbiger, "Handbuch der alten Geographie", vol. i. (1842);

paragraph: BULLET::::- E. H. Bunbury, "Hist. of Ancient Geography" (1879), ii. p. 519;

paragraph: BULLET::::- E. H. Berger, "Geschichte der wissenschaftlichen Erdkunde der Griechen" (1903).

paragraph: BULLET::::- "Marinus" in "Brill's New Pauly" (Brill, 2010)

paragraph: Section::::External links.

paragraph: BULLET::::- http://www.tmth.edu.gr/en/aet/3/66.html

paragraph: BULLET::::- http://www.dioi.org/gad.htm

description: Ancient Greek geographer, cartographer and mathematician

wikidata_label: Marinus of Tyre

wikipedia_title: Marinus of Tyre


text:
Cardinal
Roman Catholic Church
Archbishop of Lyon
Paris
France
Saint-Sulpice Seminary
Paris
Archdiocese of Paris
professor
minor seminary
titular bishop
coadjutor bishop
Orléans
metropolitan see
Lyon
Cardinal-Priest
SS. Trinità al Monte Pincio

categories: Burials at Lyon Cathedral,Seminary of Saint-Sulpice (Paris) alumni,Archbishops of Lyon,Bishops of Orléans,1829 births,19th-century Roman Catholic archbishops,20th-century Roman Catholic archbishops,1912 deaths,French cardinals,19th-century French people

paragraph: Pierre-Hector Coullié

paragraph: Pierre-Hector Coullié (14 March 1829 – 12 September 1912) was a Cardinal of the Roman Catholic Church and was Archbishop of Lyon.

paragraph: Pierre-Hector Coullié was born in Paris, France. He was educated at the Saint-Sulpice Seminary, Paris.

paragraph: Section::::Priesthood.

paragraph: He was ordained on 23 December 1854. After his ordination he served in the Archdiocese of Paris as professor of its minor seminary; vicar at Ste-Marguerite, St-Eustache, and Notre Dame des Victoires churches from 1854 until 1876.

paragraph: Section::::Episcopate.

paragraph: He was appointed as titular bishop of "Sidonia" and appointed coadjutor bishop of Orléans on 29 September 1876. He succeeded to the see of Orléans on 11 October 1878. He was promoted to the metropolitan see of Lyon on 15 June 1893.

paragraph: Section::::Cardinalate.

paragraph: He was created Cardinal-Priest in the consistory of April 19, 1897; received red hat and title of "SS. Trinità al Monte Pincio", March 24, 1898. Participated in the conclave of 1903.

paragraph: Death. September 12, 1912, Lyon. Exposed and buried in the metropolitan cathedral of Lyon.

description: Catholic cardinal

wikidata_label: Pierre-Hector Coullié

wikipedia_title: Pierre-Hector Coullié


text:
German
architect
Prussia
Friedrich Gilly
Schwedt
Huguenot
Charles Gilly
Netze
Stargard
Farther Pomerania
Friedrich Gentz
Swinemünde
Kolberg
Frederick the Great
Pomerania
East Prussia
West Prussia
Kurmark
Altmark
Bromberger Canal
Danzig
Elbing
Bauakademie
Paretz
Potsdam
Frederick William III
Freienwalde
Louise
Eduard Vieweg
Steinhöfel
Hofmarschall
Valentin von Massow
Protestant
Jerusalem's Church
New Church
David Gilly

categories: People from Schwedt,People from the Margraviate of Brandenburg,1748 births,1808 deaths,German architects

paragraph: David Gilly

paragraph: David Gilly (7 January 1748 – 5 May 1808) was a German architect and architecture-tutor in Prussia, known as the father of the architect Friedrich Gilly.

paragraph: Section::::Life.

paragraph: Born in Schwedt, Gilly was the son of a French-born Huguenot immigrant named Jacques Gilly and his wife Marie Villemain. His brother was the physician Charles Gilly. Already at the age of fifteen, Gilly was working in the gardens on the Netze. Becoming a specialist in building water-features, he was appointed master builder in 1770 (at 22 years of age), and was active between the years 1772 and 1782 in Stargard, Farther Pomerania. Gilly was the first examinee of the newly established "Ober-Examinationskommission".

paragraph: Around 1777, Gilly married Friederike, a daughter of the regimental stable-master Friedrich Ziegenspeck. With her he had two children, Friedrich and Minna (who later married the politician Friedrich Gentz).

paragraph: In Stargard, Gilly was in 1779 promoted to building director of Pomerania, before being transferred in 1782 to Stettin. As a building director, he designed (among other things) responsibly for the harbour company of Swinemünde and Kolberg. Because Gilly had already made himself widely known among the new generation of newly-qualified architects, he established the "Cameralbau" in Stettin. For King Frederick the Great, he acted as a source of expertise for comprehensive land improvement schemes.

paragraph: In 1788 Gilly was recalled to Berlin, into the Oberbaudepartement. There he was promoted that very year to be architectural advisor for the provinces of Pomerania, East Prussia and West Prussia, responsible for Kurmark and Altmark. His appointment as vice director of the construction and inspection department lasted four years. As such, Gilly was from 1792 to 1801 in charge of the building of the Bromberger Canal and the reconstruction and extension of the harbour concern of Danzig and Elbing.

paragraph: Gilly later founded a private architectural school in Berlin in 1793 and five years later was one of the co-founders of the Berliner Bauakademie (today the technical university). In these years, Gilly created some of his most beautiful works: in 1796 the country seat at Paretz in Potsdam for King Frederick William III, and two years later the Schloss Freienwalde for Queen Louise.

paragraph: Gilly conceived and erected a city palace in Braunschweigand for the publisher Eduard Vieweg in 1801 and almost at the same time he rebuilt Schloss Steinhöfel for the Hofmarschall Valentin von Massow.

paragraph: When on 3 August 1800 his son Friedrich died, he lost his creative impulse, even finding no pleasure in a short study trip to Paris in 1803/04. His wife Friederike died in 1804 and after the obligatory year of mourning, Gilly married her sister, Juliane Ziegenspeck.

paragraph: At the age of 60, on 5 May 1808, Gilly died in Berlin. His grave in Berlin in the Protestant "Friedhof II der Jerusalems- und Neuen Kirchengemeinde" (Cemetery No. II of the congregations of Jerusalem's Church and New Church) was rediscovered and renovated in 1938.

paragraph: Section::::Writings.

paragraph: BULLET::::- "Beschreibung der Feuer abhaltenden Lehmschindeldächer : nebst gesammelten Nachrichten und Erfahrungen über die Bauart mit getrockneten Lehmziegeln." (1794)

paragraph: BULLET::::- "Grundriß zu den Vorlesungen über das Praktische bey verschiedenen Gegenständen der Wasserbaukunst." (1795)

paragraph: BULLET::::- "Vergleichung der verschiedenen Bauarten welche bey Gründung der im Meere erbauten Werke, vorzüglich aber bey Aufführung der Hafen-Wände oder der sogenannten Molen an den See-Häfen, gebräuchlich sind." (1796)

paragraph: BULLET::::- "Sammlung nützlicher Aufsätze und Nachrichten." (1797)

paragraph: BULLET::::- "Ueber Erfindung, Construction und Vortheile der Bohlen-Dächer." (1797)

paragraph: BULLET::::- "Handbuch der Landbaukunst." (1798, 2. Aufl. 1800, 3. Aufl. 1805, 4. Aufl. 1818, 5. Aufl. 1822)

paragraph: BULLET::::- "Kurze Anleitung auf welche Art Blitzableiter an den Gebäuden anzubringen sind." (1798, 2. Aufl. 1802)

paragraph: BULLET::::- "Abriss der Cameral-Bauwissenschaft." (1799)

paragraph: BULLET::::- "Praktische Anleitung zur Anwendung des Nivellirens oder Wasserwägens in den bey der Landeskultur vorkommenden gewöhnlichsten Fällen." (1800, 2. Aufl. 1804, 3. Aufl. 1827)

paragraph: BULLET::::- "Praktische Anweisung zur Wasserbaukunst." (1802, 2. Aufl. 1809)

paragraph: BULLET::::- "Über die Gründung der Gebäude auf ausgemauerte Brunnen." (1804)

paragraph: BULLET::::- "Sammlung von Aufsätzen und Nachrichten die Baukunst betreffend" (This collection counts as one of the first trade-journals written by a builder.)

paragraph: Section::::Buildings.

paragraph: BULLET::::- Schloss Steinhöfel

paragraph: BULLET::::- Gutshaus 1796-1803

paragraph: BULLET::::- Schloss and Dorf Paretz 1797-1805

paragraph: BULLET::::- Schloss Freienwalde

paragraph: BULLET::::- Vieweghaus Braunschweig 1798-1804 (npw the )

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Denkmal der Liebe und Verehrung: ihrem verewigten Lehrer Herrn David Gilly ... gewidmet von den studirenden Mitgliedern der Königlichen Bau-Akademie zu Berlin." (1808)

paragraph: BULLET::::- Kahlow, Andreas (Hrsg.): "Vom Schönen und Nützlichen." : David Gilly (1748–1808); Exhibition catalogue - Berlin : Stiftung Preußischer Schlösser und Gärten Berlin-Brandenburgs, 1998

paragraph: BULLET::::- Lammert, Marlies: "David Gilly.". - Berlin : Mann, 1981. - (Repr. d. Ausg. Berlin 1964)

paragraph: BULLET::::- Schmitz, Hermann: "Berliner Baumeister.". - Berlin : Mann, 1980. - (Repr. d. Ausg. Berlin 1925)

paragraph: Section::::External links.

paragraph: BULLET::::- David Gilly

description: German architect

wikidata_label: David Gilly

wikipedia_title: David Gilly


text:
short track speed skater
Denis Nikisha's profile

categories: Male short track speed skaters,Kazakhstani short track speed skaters,Short track speed skaters at the 2018 Winter Olympics,Competitors at the 2017 Winter Universiade,Universiade medalists in short track speed skating,Olympic short track speed skaters of Kazakhstan,1995 births,Short track speed skaters at the 2014 Winter Olympics,Universiade bronze medalists for Kazakhstan,Place of birth missing (living people),Living people

paragraph: Denis Nikisha

paragraph: Denis Nikisha (born 7 August 1995) is a Kazakh male short track speed skater.

paragraph: Section::::External links.

paragraph: BULLET::::- Denis Nikisha's profile, from http://www.sochi2014.com; retrieved 2014-06-14.

description: Kazakhstani short-track speed skater

wikidata_label: Denis Nikisha

wikipedia_title: Denis Nikisha


text:
Milan
short track speed skater
Tommaso Dotti's profile

categories: Male short track speed skaters,Olympic short track speed skaters of Italy,Italian short track speed skaters,Short track speed skaters at the 2014 Winter Olympics,1993 births,Living people

paragraph: Tommaso Dotti

paragraph: Tommaso Dotti (born 11 July 1993 in Milan) is an Italian male short track speed skater.

paragraph: Section::::External links.

paragraph: BULLET::::- Tommaso Dotti's profile, from http://www.sochi2014.com; retrieved 2014-06-14.

description: Italian short-track speed skater

wikidata_label: Tommaso Dotti

wikipedia_title: Tommaso Dotti


text:
Vitebsk
short track speed skater
Maksim Siarheyeu's profile

categories: Male short track speed skaters,Short track speed skaters at the 2018 Winter Olympics,Belarusian short track speed skaters,Olympic short track speed skaters of Belarus,Short track speed skaters at the 2014 Winter Olympics,1991 births,Living people

paragraph: Maksim Siarheyeu

paragraph: Maksim Siarheyeu (born 15 July 1991 in Vitebsk) is a Belorussian male short track speed skater.

paragraph: Section::::External links.

paragraph: BULLET::::- Maksim Siarheyeu's profile (retrieved 2014-06-14)

description: Belorussian short track speed skater

wikidata_label: Maksim Siarheyeu

wikipedia_title: Maksim Siarheyeu


text:
Slovak
ice hockey
goaltender
New Jersey Devils
2000 NHL Entry Draft
Kontinental Hockey League
HC Dinamo Minsk
2008–09 KHL season

categories: Albany River Rats players,1980 births,HC Dinamo Minsk players,Sportovní Klub Kadaň players,Slovak ice hockey players,HK Nitra players,HC '05 Banská Bystrica players,HK Poprad players,Piráti Chomutov players,Augusta Lynx players,GKS Katowice (ice hockey) players,HC Shakhtyor Soligorsk players,Keramin Minsk players,HKm Zvolen players,Living people,Columbus Cottonmouths (ECHL) players,People from Banská Bystrica,HK Riga 2000 players,New Jersey Devils draft picks

paragraph: Matúš Kostúr

paragraph: Matus Kostur (born March 28, 1980) is a Slovak former professional ice hockey goaltender. He was selected by the New Jersey Devils in the 5th round (164th overall) of the 2000 NHL Entry Draft.

paragraph: Kostur made his Kontinental Hockey League debut playing with HC Dinamo Minsk debut during the 2008–09 KHL season.

description: Slovak ice hockey player

wikidata_label: Matúš Kostúr

wikipedia_title: Matúš Kostúr


text:
Monasterace
ice dancer
Lamberto Ceserani
Italian Figure Skating Championships
1975 World Championships
1976 Winter Olympics
Zappatore

categories: Italian female ice dancers,1952 births,People from the Province of Reggio Calabria,Figure skaters at the 1976 Winter Olympics,Olympic figure skaters of Italy,Living people

paragraph: Matilde Ciccia

paragraph: Matilde Ciccia (born 6 October 1952 in Monasterace) is an Italian former ice dancer. Competing with Lamberto Ceserani, she won the gold medal at the Italian Figure Skating Championships several times. They finished fifth at the 1975 World Championships and sixth at the 1976 Winter Olympics.

paragraph: Ciccia had a role in the 1980 movie "Zappatore".

description: Italian actress

wikidata_label: Matilde Ciccia

wikipedia_title: Matilde Ciccia


text:
British
cross-country skier
FIS
Tornio
Finland
Winter Olympics
2014
30km skiathlon
15km classical
Inverurie Academy
University of Edinburgh

categories: Cross-country skiers at the 2014 Winter Olympics,Scottish male cross-country skiers,Living people,People educated at Inverurie Academy,Sportspeople from Aberdeenshire,1992 births,Olympic cross-country skiers of Great Britain,Alumni of the University of Edinburgh,Cross-country skiers at the 2018 Winter Olympics

paragraph: Callum Smith (skier)

paragraph: Callum Smith (born 12 October 1992) is a British cross-country skier. He took up skiing at the age of eight and made his debut competing for Great Britain in 2008 in a FIS race in Tornio, Finland. He made his debut at the Winter Olympics in 2014, finishing 62nd in the 30km skiathlon and 67th in the 15km classical. He was educated at Inverurie Academy, before studying chemical engineering at the University of Edinburgh.

paragraph: He retired from professional cross-country skiing in 2018.

description: British cross country skier

wikidata_label: Callum Smith

wikipedia_title: Callum Smith (skier)


text:
French
sailor
1900 Summer Olympics
Frédéric Blanchy
William Exshaw

categories: French male sailors (sport),Olympic sailors of France,Year of birth missing,Sailors at the 1900 Summer Olympics – 2 to 3 ton,Year of death missing

paragraph: Jacques Le Lavasseur

paragraph: Jacques Le Lavasseur was a French sailor who competed in the 1900 Summer Olympics.

paragraph: He was crew on the British/French boat "Ollé", which won the gold medals in both races of the 2-3 ton class with fellow crew member Frédéric Blanchy and helmsman William Exshaw. He also participated in the open class, but did not finish

description: Olympic sailor

wikidata_label: Jacques Le Lavasseur

wikipedia_title: Jacques Le Lavasseur


text:
French
sailor
1900 Summer Olympics
Jacques Le Lavasseur
William Exshaw

categories: French male sailors (sport),Olympic sailors of France,Sportspeople from Bordeaux,1944 deaths,Sailors at the 1900 Summer Olympics – 2 to 3 ton,1868 births,Medalists at the 1900 Summer Olympics

paragraph: Frédéric Blanchy

paragraph: Frédéric Blanchy (1 July 1868 – 1 October 1944) was a French sailor who competed in the 1900 Summer Olympics. He was crew on the British/French boat "Ollé", which won the gold medals in both races of the 2-3 ton class with fellow crew member Jacques Le Lavasseur and helmsman William Exshaw. He also participated in the open class, but did not finish

description: Olympic sailor

wikidata_label: Frédéric Blanchy

wikipedia_title: Frédéric Blanchy


text: abstract expressionist

text: Dvinsk

text: Vitebsk Governorate

text: Russian Empire

text: Daugavpils

text: pharmacist

text: Orthodox Judaism

text: cheder

text: Talmud

text: Imperial Russian Army

text: Ellis Island

text: Portland, Oregon

text: colon cancer

text: Lincoln High School

text: Industrial Workers of the World

text: anarchists

text: Bill Haywood

text: Emma Goldman

text: Russian Revolution

text: Yale

text: elitist

text: racist

text: Aaron Director

text: Art Students League of New York

text: Parsons The New School for Design

text: Arshile Gorky

text: Max Weber

text: Modernism

text: German Expressionists

text: surrealist

text: Paul Klee

text: Georges Rouault

text: Adolph Gottlieb

text: Barnett Newman

text: Joseph Solman

text: Louis Schanker

text: John Graham

text: Milton Avery

text: Elaine de Kooning

text: Lake George, New York

text: Gloucester, Massachusetts

text: Portland Art Museum

text: aquarelle

text: Depression

text: Ilya Bolotowsky

text: Ralph Rosenborg

text: Louis Schanker

text: Joseph Solman

text: The Ten

text: Works Progress Administration

text: Rothko Chapel

text: World War II

text: Friedrich Nietzsche

text: Nazi

text: anti-Semitism

text: Romantics

text: Fascism

text: Communist Party

text: mythology

text: Sigmund Freud

text: Carl Jung

text: Sir James Frazer's

text: The Golden Bough

text: The Interpretation of Dreams

text: Friedrich Nietzsche

text: The Birth of Tragedy

text: Aeschylus

text: Oresteia

text: trilogy

text: Antigone

text: Oedipus

text: Iphigenia

text: Leda

text: The Furies

text: Orpheus

text: The Last Supper

text: Lilith

text: Karnak

text: World War II

text: Surrealism

text: Cubism

text: abstract art

text: Museum of Modern Art

text: Ernst

text: Miró

text: Wolfgang Paalen

text: Tanguy

text: Salvador Dalí

text: Surrealism

text: Gottlieb

text: Newman

text: Mondrian

text: Macy's

text: The New York Times

text: myth

text: Carl Jung

text: T. S. Eliot

text: James Joyce

text: Thomas Mann

text: Clyfford Still

text: Peggy Guggenheim

text: The Art of This Century Gallery

text: Second World War

text: Whitney Museum

text: Clyfford Still

text: David Hare

text: Robert Motherwell

text: contingency

text: Wolfgang Paalen

text: Henri Matisse

text: Betty Parsons

text: Harold Rosenberg

text: East Hampton

text: abstract expressionist

text: Rothko Chapel

text: Electron microscopy

text: ultraviolet

text: acrylic resin

text: phenol formaldehyde

text: alkyd

text: fresco

text: Fra Angelico

text: San Marco, Florence

text: Betty Parsons

text: São Paulo

text: Amsterdam

text: Dorothy Canning Miller

text: Jackson Pollock

text: William Baziotes

text: Fortune

text: Brooklyn College

text: Art Institute of Chicago

text: Sidney Janis

text: Franz Kline

text: abstractionist

text: de Menils

text: Dore Ashton

text: Pratt Institute

text: Joseph Seagram and Sons

text: Park Avenue

text: Mies van der Rohe

text: Philip Johnson

text: the Four Seasons

text: Simon Schama

text: SS "Independence"

text: Harper's Magazine

text: Michelangelo

text: Laurentian Library

text: Villa of the Mysteries

text: Tate Modern

text: Kawamura Memorial Museum

text: National Gallery of Art

text: John Logan

text: Red

text: Black on Maroon

text: BBC

text: Will Gompertz

text: Phillips Collection

text: Duncan Phillips

text: Rockefeller family

text: Joseph Kennedy

text: John F. Kennedy

text: pop art

text: Warhol

text: Lichtenstein

text: Rosenquist

text: Jasper Johns

text: Holyoke Center

text: Nathan Pusey

text: Triptych

text: Guggenheim

text: Rothko Chapel

text: Menil Collection

text: The University of St. Thomas

text: Houston

text: Cy Twombly

text: John and Dominique de Menil

text: Philip Johnson

text: Howard Barnstone

text: Roman Catholic

text: Byzantine

text: Crucifixion

text: transcendent

text: Dore Ashton

text: barbiturates

text: Tate Gallery

text: Marlborough Gallery

text: Theodore Stamos

text: Rothko Case

text: Yale University Press

text: Red

text: John Logan

text: Donmar Warehouse

text: Alfred Molina

text: Eddie Redmayne

text: Seagram Murals

text: Broadway

text: Tony Award

text: Pace Gallery

text: Daugavpils

text: Daugava River

text: Mark Rothko Art Centre

text: Museo Nacional Centro de Arte Reina Sofía

text: Thyssen-Bornemisza Museum

text: Governor Nelson A. Rockefeller Empire State Plaza Art Collection

text: Al Held

text: National Gallery of Berlin

text: White Center (Yellow, Pink and Lavender on Rose)

text: David Rockefeller

text: Christie's

text: Orange, Red, Yellow

text: nominal value

text: list of most expensive paintings

text: No. 1 (Royal Red and Blue)

text: Schlumberger

text: Microsoft

text: Paul Allen

text: Rachel Mellon

text: No. 10

text: Rothko Pavilion

text: Baal-Teshuva, Jacob

text: Nietzsche, Friedrich

text: Walter Kaufmann

text: Schama, Simon

text: Cohen-Solal, Annie

text: "Mark Rothko."

text: Logan, John

text: Red

text: "Mark Rothko, 1903–1970: A Retrospective."

text: Raduraksti (Latvia for "lineage")

text: Daugavpils Rabinats Fonds 4359 Apraksts 2 Lieta 8

text: Mark Rothko on Wikiart.org

text: 1958–59 Murals

text: The Rothko Chapel

text: ArtCyclopedia

text: "Guardian" slideshow

text: Mark Rothko

text: BBC's "Power of Art"

text: Simon Schama's Power of Art

text: "Rothko, an abstract humanist" DVD

text: Mark Rothko Art Centre, Daugavpils, Latvia

text: Mark Rothko Centenary, Latvia 2003

text: Mark Rothko Broadcast, Utrecht 2015

text: Tate Modern

text: Mark Rothko exhibition at Tate Modern, London, September 2008 – February 2009

text: "The Times"

text: "The Times"

text: Welcome to his dark side ...

text: The Observer

text: You can have too much Rothko

text: Tom Sutcliffe

text: The Independent

text: "The Telegraph"

text: Whitechapel Gallery

text: Rothko Britain exhibition at Whitechapel Gallery, London, 9 September 2011 – 26 February 2012

text: review

text: review

text: review

text: article

text: article

text: Archives of American Art

text: Interview with Bernard Braddon and Sidney Schectman

text: Smithsonian Institution

text: Oral history interview with Sonia Allen, 1984 September 15; Rothko's sister

categories: Jewish American artists,20th-century American painters,American printmakers,Mark Rothko,American abstract artists,Drug-related suicides in New York (state),Art Students League of New York alumni,Jews and Judaism in Portland, Oregon,San Francisco Art Institute faculty,Federal Art Project artists,American male painters,Jewish painters,Painters from Oregon,Painters who committed suicide,Lincoln High School (Portland, Oregon) alumni,1970 deaths,Abstract expressionist artists,American contemporary artists,Abstract painters,Suicides by sharp instrument in the United States,American people of Russian-Jewish descent,American people of Latvian-Jewish descent,Artists from Portland, Oregon,1903 births,Latvian Jews,People from Daugavpils,Imperial Russian emigrants to the United States

paragraph: Mark Rothko

paragraph: Mark Rothko (), born Markus Yakovlevich Rothkowitz (, ; September 25, 1903 – February 25, 1970), was an American painter of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is generally identified as an abstract expressionist.

paragraph: Section::::Childhood.

paragraph: Mark Rothko was born in Dvinsk, Vitebsk Governorate, in the Russian Empire (today Daugavpils in Latvia). His father, Jacob (Yakov) Rothkowitz, was a pharmacist and an intellectual who initially provided his children with a secular and political, rather than religious, upbringing. According to Rothko, his pro-Marxist father was "violently anti-religious". In an environment where Jews were often blamed for many of the evils that befell Russia, Rothko's early childhood was plagued by fear.

paragraph: Despite Jacob Rothkowitz's modest income, the family was highly educated ("We were a reading family", Rothko's sister recalled), and Rothko was able to speak Russian, Yiddish, and Hebrew. Following his father's return to the Orthodox Judaism of his own youth, Rothko, the youngest of four siblings, was sent to the cheder at the age of five, where he studied the Talmud, although his elder siblings had been educated in the public school system.

paragraph: Section::::Emigration from Russia to the U.S..

paragraph: Fearing that his elder sons were about to be drafted into the Imperial Russian Army, Jacob Rothkowitz emigrated from Russia to the United States. Markus remained in Russia, with his mother and elder sister Sonia. They arrived as immigrants, at Ellis Island, in late 1913. From that point, they crossed the country, to join Jacob and the elder brothers, in Portland, Oregon. Jacob's death, a few months later, from colon cancer, left the family without economic support. Sonia operated a cash register, while Markus worked in one of his uncle's warehouses, selling newspapers to employees. His father's death also led Rothko to sever his ties with religion. After he had mourned his father's death for almost a year at a local synagogue, he vowed never to set foot in it again.

paragraph: Rothko started school in the United States in 1913, quickly accelerating from third to fifth grade. In June 1921, he completed the secondary level, with honors, at Lincoln High School in Portland, at the age of seventeen. He learned his fourth language, English, and became an active member of the Jewish community center, where he proved adept at political discussions. Like his father, Rothko was passionate about issues such as workers' rights, and women's right to contraception. At the time, Portland was the center of revolutionary activity in the U.S., and the region where the revolutionary syndicalist union Industrial Workers of the World (IWW) was strongest.

paragraph: Rothko, having grown up around radical workers' meetings, attended meetings of the IWW, including anarchists such as Bill Haywood and Emma Goldman, where he developed strong oratorical skills he would later use in defense of Surrealism. He heard Emma Goldman speak on one of her West Coast activist lecture tours. With the onset of the Russian Revolution, Rothko organized debates about it. Despite the repressive political atmosphere, he wished to become a labor union organizer.

paragraph: Rothko received a scholarship to Yale. At the end of his freshman year in 1922, the scholarship was not renewed, and he worked as a waiter and delivery boy to support his studies. He found the Yale community to be elitist and racist. Rothko and a friend, Aaron Director, started a satirical magazine, "The Yale Saturday Evening Pest", which lampooned the school's stuffy, bourgeois tone. Rothko's nature was more that of a self-taught man than a diligent pupil: "One of his fellow students remembers that he hardly seemed to study, but that he was a voracious reader." At the end of his sophomore year, Rothko dropped out, and did not return until he was awarded an honorary degree, forty-six years later.

paragraph: Section::::Early career.

paragraph: In the autumn of 1923, Rothko found work in New York's garment district. While visiting a friend at the Art Students League of New York, he saw students sketching a model. According to Rothko, this was the beginning of his life as an artist. He later enrolled in the Parsons The New School for Design, where one of his instructors was Arshile Gorky. Rothko characterized Gorky's leadership of the class as "overcharged with supervision." That same autumn, he took courses at the Art Students League taught by Cubist artist Max Weber, a fellow Russian Jew who had been a part of the French avant-garde movement. To his students eager to know about Modernism, Weber was seen as "a living repository of modern art history". Under Weber's tutelage, Rothko began to view art as a tool of emotional and religious expression. Rothko's paintings from this era reveal the influence of his instructor. Years later, when Weber attended a show of his former student's work and expressed his admiration, Rothko was immensely pleased.

paragraph: Section::::Early career.:Rothko's circle.

paragraph: Rothko's move to New York landed him in a fertile artistic atmosphere. Modernist painters were having more shows in New York galleries all the time, and the city's museums were an invaluable resource for a budding artist's knowledge and skills. Among the important early influences on Rothko were the works of the German Expressionists, the surrealist art of Paul Klee, and the paintings of Georges Rouault.

paragraph: In 1928, with a group of other young artists, Rothko exhibited works at the Opportunity Gallery. His paintings, including dark, moody, expressionist interiors and urban scenes, were generally well accepted among critics and peers. To supplement his income, in 1929 Rothko began instructing schoolchildren in drawing, painting and clay sculpture at the Center Academy of the Brooklyn Jewish Center, where he would remain active in teaching at that location for twenty-two years, until 1952.

paragraph: During the early 1930s, Rothko met Adolph Gottlieb, who, along with Barnett Newman, Joseph Solman, Louis Schanker, and John Graham, was part of a group of young artists surrounding the painter Milton Avery. According to Elaine de Kooning, it was Avery who "gave Rothko the idea that [the life of a professional artist] was a possibility." Avery's abstract nature paintings, utilizing a rich knowledge of form and color, had a tremendous influence on Rothko. Soon, Rothko's paintings took on subject matter and color similar to Avery's, as seen in "Bathers, or Beach Scene" of 1933–1934.

paragraph: Rothko, Gottlieb, Newman, Solman, Graham, and their mentor, Avery, spent considerable time together, vacationing at Lake George, New York, and Gloucester, Massachusetts. In the daytime they painted, then discussed art in the evenings. During a 1932 visit to Lake George, Rothko met Edith Sachar, a jewelry designer, whom he married later that year. The following summer, his first one-person show was held at the Portland Art Museum, consisting mostly of drawings and aquarelles. For this exhibition, Rothko took the very unusual step of displaying works done by his pre-adolescent students from the Center Academy, alongside his own. His family was unable to understand Rothko's decision to be an artist, especially considering the dire economic situation of the Depression. Having suffered serious financial setbacks, the Rothkowitzes were mystified by Rothko's seeming indifference to financial necessity. They felt he was doing his mother a disservice by not finding a more lucrative and realistic career.

paragraph: Section::::Early career.:First solo show in New York.

paragraph: Returning to New York, Rothko had his first East Coast one-person show at the Contemporary Arts Gallery. He showed fifteen oil paintings, mostly portraits, along with some aquarelles and drawings. Among these works, the oil paintings especially captured the art critics' eyes. Rothko's use of rich fields of colors moved beyond Avery's influence. In late 1935, Rothko joined with Ilya Bolotowsky, Ben-Zion, Adolph Gottlieb, Lou Harris, Ralph Rosenborg, Louis Schanker and Joseph Solman to form "The Ten" (Whitney Ten Dissenters). According to a gallery show catalog, the mission of the group was "to protest against the reputed equivalence of American painting and literal painting."

paragraph: Rothko was earning a growing reputation among his peers, particularly among the group that formed the Artists' Union. The Artists' Union, including Gottlieb and Solman, hoped to create a municipal art gallery, to show self-organized group exhibitions. In 1936, the group exhibited at the Galerie Bonaparte in France, which resulted in some positive critical attention. One reviewer remarked that Rothko's paintings "display authentic coloristic values." Later, in 1938, a show was held at the Mercury Gallery in New York, intended as a protest against the Whitney Museum of American Art, which the group regarded as having a provincial, regionalist agenda. Also during this period, Rothko, like Avery, Gorky, Pollock, de Kooning, and many others, found employment with the Works Progress Administration.

paragraph: Section::::Early career.:Development of style.

paragraph: In 1936, Rothko began writing a book, never completed, about similarities in the art of children and the work of modern painters. According to Rothko, the work of modernists, influenced by primitive art, could be compared to that of children in that "child art transforms itself into primitivism, which is only the child producing a mimicry of himself." In this manuscript, he observed: "Tradition of starting with drawing in academic notion We may start with color." Rothko was using fields of color in his aquarelles and city scenes. His style was already evolving in the direction of his renowned later works. Despite this newfound exploration of color, Rothko turned his attention to other formal and stylistic innovations, inaugurating a period of surrealist paintings influenced by mythological fables and symbols.

paragraph: Rothko's work later matured from representation and mythological subjects into rectangular fields of color and light, culminating in his final works for the Rothko Chapel. Between his early style of primitivist and playful urban scenes, and his later style of transcendent color fields, was a long period of transition. This development was marked by two important events in Rothko's life: the onset of World War II, and his reading of Friedrich Nietzsche.

paragraph: Section::::Maturity.

paragraph: Rothko separated temporarily from his wife Edith in mid-1937. They reconciled several months later, but their relationship remained tense. On February 21, 1938, Rothko finally became a citizen of the United States, prompted by fears that the growing Nazi influence in Europe might provoke sudden deportation of American Jews. Concerned about anti-Semitism in America and Europe, Rothko in 1940 abbreviated his name from "Markus Rothkowitz" to "Mark Rothko". The name "Roth", a common abbreviation, was still identifiably Jewish, so he settled upon "Rothko."

paragraph: Section::::Maturity.:Inspiration from mythology.

paragraph: Fearing that modern American painting had reached a conceptual dead end, Rothko was intent upon exploring subjects other than urban and nature scenes. He sought subjects that would complement his growing interest with form, space, and color. The world crisis of war gave this search a sense of immediacy. He insisted that the new subject matter have a social impact, yet be able to transcend the confines of current political symbols and values. In his essay "The Romantics Were Prompted," published in 1949, Rothko argued that the "archaic artist ... found it necessary to create a group of intermediaries, monsters, hybrids, gods and demigods," in much the same way that modern man found intermediaries in Fascism and the Communist Party. For Rothko, "without monsters and gods, art cannot enact a drama".

paragraph: Rothko's use of mythology as a commentary on current history was not novel. Rothko, Gottlieb, and Newman read and discussed the works of Sigmund Freud and Carl Jung. In particular, they took interest in psychoanalytical theories concerning dreams, and archetypes of a collective unconscious. They understood mythological symbols as images, operating in a space of human consciousness, which transcends specific history and culture. Rothko later said that his artistic approach was "reformed" by his study of the "dramatic themes of myth". He allegedly stopped painting altogether in 1940, to immerse himself in reading Sir James Frazer's study of mythology "The Golden Bough", and Freud's "The Interpretation of Dreams".

paragraph: Section::::Maturity.:Nietzsche's influence.

paragraph: Rothko's new vision attempted to address modern man's spiritual and creative mythological requirements. The most crucial philosophical influence on Rothko in this period was Friedrich Nietzsche's "The Birth of Tragedy". Nietzsche claimed that Greek tragedy served to redeem man from the terrors of mortal life. The exploration of novel topics in modern art ceased to be Rothko's goal. From this time on, his art had the goal of relieving modern man's spiritual emptiness. He believed that this emptiness resulted partly from lack of a mythology, which, according to Nietzsche, "The images of the myth have to be the unnoticed omnipresent demonic guardians, under whose care the young soul grows to maturity and whose signs help the man to interpret his life and struggles." Rothko believed his art could free unconscious energies, previously liberated by mythological images, symbols, and rituals. He considered himself a "mythmaker", and proclaimed that "the exhilarated tragic experience is for me the only source of art".

paragraph: Many of his paintings in this period contrast barbaric scenes of violence with civilized passivity, using imagery drawn primarily from Aeschylus's "Oresteia" trilogy. A list of Rothko's paintings from this period illustrates his use of myth: "Antigone", "Oedipus", "The Sacrifice of Iphigenia", "Leda", "The Furies", "Altar of Orpheus". Rothko evokes Judeo-Christian imagery in "Gethsemane", "The Last Supper", and "Rites of Lilith". He also invokes Egyptian ("Room in Karnak") and Syrian ("The Syrian Bull") myth.Soon after World War II, Rothko believed his titles limited the larger, transcendent aims of his paintings. To allow maximum interpretation by the viewer, he stopped naming and framing his paintings, referring to them only by numbers.

paragraph: Section::::Maturity.:"Mythomorphic" abstractionism.

paragraph: At the root of Rothko and Gottlieb's presentation of archaic forms and symbols, illuminating modern existence, had been the influence of Surrealism, Cubism, and abstract art. In 1936, Rothko attended two exhibitions at the Museum of Modern Art, "Cubism and Abstract Art", and "Fantastic Art, Dada and Surrealism".

paragraph: In 1942, following the success of shows by Ernst, Miró, Wolfgang Paalen, Tanguy, and Salvador Dalí, artists who had immigrated to the United States because of the war, Surrealism took New York by storm. Rothko and his peers, Gottlieb and Newman, met and discussed the art and ideas of these European pioneers, as well as those of Mondrian. They began to regard themselves as heirs to the European avant-garde.

paragraph: New paintings were unveiled at a 1942 show at Macy's department store in New York City. In response to a negative review by "The New York Times", Rothko and Gottlieb issued a manifesto, written mainly by Rothko. Addressing the "Times" critic's self-professed "befuddlement" over the new work, they stated "We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth." On a more strident note, they criticised those who wanted to live surrounded by less challenging art, noting that their work necessarily "must insult anyone who is spiritually attuned to interior decoration".

paragraph: Rothko's viewed myth as a replenishing resource for an era of spiritual void. This belief had begun decades earlier, through his reading of Carl Jung, T. S. Eliot, James Joyce and Thomas Mann, among other authors.

paragraph: Section::::Maturity.:Break with Surrealism.

paragraph: On June 13, 1943, Rothko and Sachar separated again. Rothko suffered a long depression following their divorce. Thinking that a change of scenery might help, Rothko returned to Portland. From there, he traveled to Berkeley, where he met artist Clyfford Still, and the two began a close friendship. Still's deeply abstract paintings would be of considerable influence on Rothko's later works. In the autumn of 1943, Rothko returned to New York. He met with noted collector and art dealer Peggy Guggenheim, but she was initially reluctant to take on his artworks. Rothko's one-person show at Guggenheim's The Art of This Century Gallery, in late 1945, resulted in few sales, with prices ranging from $150 to $750. The exhibit also attracted less-than-favorable reviews from critics. During this period, Rothko had been stimulated by Still's abstract landscapes of color, and his style shifted away from surrealism. Rothko's experiments in interpreting the unconscious symbolism of everyday forms had run their course. His future lay with abstraction:

paragraph: Rothko's 1945 masterpiece, "Slow Swirl at the Edge of the Sea", illustrates his newfound propensity towards abstraction. It has been interpreted as a meditation on Rothko's courtship of his second wife, Mary Ellen "Mell" Beistle, whom he met in 1944 and married in early 1945. Other readings have noted echoes of Botticelli's "The Birth of Venus", which Rothko saw at an "Italian Masters" loan exhibition, at the Museum of Modern Art, in 1940. The painting presents, in subtle grays and browns, two human-like forms embraced in a swirling, floating atmosphere of shapes and colors. The rigid rectangular background foreshadows Rothko's later experiments in pure color. The painting was completed, not coincidentally, in the year the Second World War ended.

paragraph: Despite the abandonment of his "Mythomorphic Abstractionism", Rothko would still be recognized by the public primarily for his surrealist works, for the remainder of the 1940s. The Whitney Museum included them in their annual exhibit of contemporary art from 1943 to 1950.

paragraph: Section::::Maturity.:"Multiforms".

paragraph: The year 1946 saw the creation of what art critics have termed Rothko's transitional "multiform" paintings. Rothko never used the term multiform himself, yet it is an accurate description of these paintings. Several of them, including "No. 18" and "Untitled" (both 1948), are less transitional than fully realized. Rothko himself described these paintings as possessing a more organic structure, and as self-contained units of human expression. For him, these blurred blocks of various colors, devoid of landscape or the human figure, let alone myth and symbol, possessed their own life force. They contained a "breath of life" he found lacking in most figurative painting of the era. They were filled with possibility, whereas his experimentation with mythological symbolism had become a tired formula. The "multiforms" brought Rothko to a realization of his mature, signature style, the only style Rothko would never fully abandon.

paragraph: In the middle of this crucial period of transition, Rothko had been impressed by Clyfford Still's abstract fields of color, which were influenced in part by the landscapes of Still's native North Dakota. In 1947, during a summer semester teaching at the California School of Fine Art, Rothko and Still flirted with the idea of founding their own curriculum, and they realized this idea in New York in the following year. Named "The Subjects of the Artists School", they employed David Hare and Robert Motherwell, among others. Though the group separated later in the same year, the school was the center of a flurry of activity in contemporary art. In addition to his teaching experience, Rothko began to contribute articles to two new art publications, "Tiger's Eye" and "Possibilities". Using the forums as an opportunity to assess the current art scene, Rothko also discussed in detail his own work and philosophy of art. These articles reflect the elimination of figurative elements from his painting, and a specific interest in the new contingency debate launched by Wolfgang Paalen's "Form and Sense" publication of 1945. Rothko described his new method as "unknown adventures in an unknown space", free from "direct association with any particular, and the passion of organism". Breslin described this change of attitude as "both self and painting are now fields of possibilities – an effect conveyed ... by the creation of protean, indeterminate shapes whose multiplicity is let be."

paragraph: In 1949, Rothko became fascinated by Henri Matisse's "Red Studio", acquired by the Museum of Modern Art that year. He later credited it as another key source of inspiration for his later abstract paintings.

paragraph: Section::::Late period.

paragraph: Soon, the "multiforms" developed into the signature style; by early 1949 Rothko exhibited these new works at the Betty Parsons Gallery. For critic Harold Rosenberg, the paintings were nothing short of a revelation. After painting his first "multiform", Rothko had secluded himself to his home in East Hampton on Long Island. He invited only a select few, including Rosenberg, to view the new paintings. The discovery of his definitive form came at a period of great distress to the artist; his mother Kate had died in October 1948. Rothko happened upon the use of symmetrical rectangular blocks of two to three opposing or contrasting, yet complementary, colors, in which, for example, "the rectangles sometimes seem barely to coalesce out of the ground, concentrations of its substance. The green bar in "Magenta, Black, Green on Orange", on the other hand, appears to vibrate against the orange around it, creating an optical flicker." Additionally, for the next seven years, Rothko painted in oil only on large canvases with vertical formats. Very large-scale designs were used in order to overwhelm the viewer, or, in Rothko's words, to make the viewer feel "enveloped within" the painting. For some critics, the large size was an attempt to make up for a lack of substance. In retaliation, Rothko stated:

paragraph: He even went so far as to recommend that viewers position themselves as little as eighteen inches away from the canvas so that they might experience a sense of intimacy, as well as awe, a transcendence of the individual, and a sense of the unknown.

paragraph: As Rothko achieved success, he became increasingly protective of his works, turning down several potentially important sales and exhibition opportunities:

paragraph: Rothko's aims, in the estimation of some critics and viewers, exceeded his methods. Many of the abstract expressionists discussed their art as aiming toward a spiritual experience, or at least an experience that exceeded the boundaries of the purely aesthetic. In later years, Rothko emphasized more emphatically the spiritual aspect of his artwork, a sentiment that would culminate in the construction of the Rothko Chapel.

paragraph: Many of the "multiforms" and early signature paintings are composed of bright, vibrant colors, particularly reds and yellows, expressing energy and ecstasy. By the mid-1950s, however, close to a decade after the completion of the first "multiforms," Rothko began to employ dark blues and greens; for many critics of his work this shift in colors was representative of a growing darkness within Rothko's personal life.

paragraph: Rothko's method was to apply a thin layer of binder mixed with pigment directly onto uncoated and untreated canvas and to paint significantly thinned oils directly onto this layer, creating a dense mixture of overlapping colors and shapes. His brushstrokes were fast and light, a method he would continue to use until his death. His increasing adeptness at this method is apparent in the paintings completed for the Chapel. With an absence of figurative representation, what drama there is to be found in a late Rothko is in the contrast of colors, radiating against one another. His paintings can then be likened to a sort of fugue-like arrangement: each variation counterpoised against one another, yet all existing within one architectonic structure.

paragraph: Rothko used several original techniques that he tried to keep secret even from his assistants. Electron microscopy and ultraviolet analysis conducted by the MOLAB showed that he employed natural substances such as egg and glue, as well as artificial materials including acrylic resins, phenol formaldehyde, modified alkyd, and others. One of his objectives was to make the various layers of the painting dry quickly, without mixing of colors, so that he could soon create new layers on top of the earlier ones.

paragraph: Section::::Late period.:European travels: increasing fame.

paragraph: Rothko and his wife visited Europe for five months in early 1950. The last time he had been in Europe was during his childhood in Latvia, at that time part of Russia. Yet he did not return to his homeland, preferring to visit the important painting collections in the major museums of England, France and Italy. The frescoes of Fra Angelico in the monastery of San Marco, Florence, most impressed him. Fra Angelico's spirituality and concentration on light appealed to Rothko's sensibilities, as did the economic adversities the artist faced, which Rothko saw as similar to his own.

paragraph: Rothko had one-man shows at the Betty Parsons Gallery in 1950 and 1951 and at other galleries across the world, including in Japan, São Paulo and Amsterdam. The 1952 "Fifteen Americans" show curated by Dorothy Canning Miller at the Museum of Modern Art formally heralded the abstract artists and included works by Jackson Pollock and William Baziotes. It also created a dispute between Rothko and Barnett Newman, after Newman accused Rothko of having attempted to exclude him from the show. Growing success as a group was leading to infighting and claims to supremacy and leadership. When "Fortune" magazine named a Rothko painting as a good investment, Newman and Still branded him a sell-out with bourgeois aspirations. Clyfford Still wrote to Rothko to ask that the paintings he had given him over the years be returned. Rothko was deeply depressed by his former friends' jealousy.

paragraph: During the 1950 Europe trip, Rothko's wife became pregnant. On December 30, when they were back in New York, she gave birth to a daughter, Kathy Lynn, called "Kate" in honor of Rothko's mother.

paragraph: Section::::Late period.:Reactions to his own success.

paragraph: Shortly thereafter, due to the "Fortune" magazine plug and further purchases by clients, Rothko's financial situation began to improve. In addition to sales of paintings, he also had money from his teaching position at Brooklyn College. In 1954, he exhibited in a solo show at the Art Institute of Chicago, where he met art dealer Sidney Janis, who represented Pollock and Franz Kline. Their relationship proved mutually beneficial.

paragraph: Despite his fame, Rothko felt a growing personal seclusion and a sense of being misunderstood as an artist. He feared that people purchased his paintings simply out of fashion and that the true purpose of his work was not being grasped by collectors, critics, or audiences. He wanted his paintings to move beyond abstraction, as well as beyond classical art. For Rothko, the paintings were objects that possessed their own form and potential, and therefore, must be encountered as such. Sensing the futility of words in describing this decidedly non-verbal aspect of his work, Rothko abandoned all attempts at responding to those who inquired after its meaning and purpose, stating finally that silence is "so accurate". "My paintings' surfaces are expansive and push outward in all directions, or their surfaces contract and rush inward in all directions. Between these two poles, you can find everything I want to say."

paragraph: Rothko began to insist that he was not an abstractionist and that such a description was as inaccurate as labeling him a great colorist. His interest was:

paragraph: For Rothko, color is "merely an instrument". The multiforms and the signature paintings are, in essence, the same expression of basic human emotions as his surrealistic mythological paintings, albeit in a purer form. What is common among these stylistic innovations is a concern for "tragedy, ecstasy and doom". It was Rothko's comment on viewers breaking down in tears before his paintings that may have convinced the de Menils to construct the Rothko Chapel. Whatever Rothko's feeling about interpretations of his work, it is apparent that, by 1958, the spiritual expression he meant to portray on canvas was growing increasingly dark. His bright reds, yellows and oranges were subtly transformed into dark blues, greens, grays and blacks.

paragraph: Rothko's friend, the art critic Dore Ashton, points to the artist's acquaintance with poet Stanley Kunitz as a significant bond in this period ("conversations between painter and poet fed into Rothko's enterprise"). Kunitz saw Rothko as "a primitive, a shaman who finds the magic formula and leads people to it". Great poetry and painting, Kunitz believed, both had "roots in magic, incantation, and spell-casting" and were, at their core, ethical and spiritual. Kunitz instinctively understood the purpose of Rothko's quest.

paragraph: In November 1958, Rothko gave an address to the Pratt Institute. In a tenor unusual for him, he discussed art as a trade and offered the "recipe of a work of art—its ingredients—how to make it—the formula.

paragraph: BULLET::::1. There must be a clear preoccupation with death—intimations of mortality ... Tragic art, romantic art, etc., deals with the knowledge of death.

paragraph: BULLET::::2. Sensuality. Our basis of being concrete about the world. It is a lustful relationship to things that exist.

paragraph: BULLET::::3. Tension. Either conflict or curbed desire.

paragraph: BULLET::::4. Irony, This is a modern ingredient—the self-effacement and examination by which a man for an instant can go on to something else.

paragraph: BULLET::::5. Wit and play ... for the human element.

paragraph: BULLET::::6. The ephemeral and chance ... for the human element.

paragraph: BULLET::::7. Hope. 10% to make the tragic concept more endurable.

paragraph: I measure these ingredients very carefully when I paint a picture. It is always the form that follows these elements and the picture results from the proportions of these elements."

paragraph: Section::::Late period.:Seagram Murals–Four Seasons restaurant commission.

paragraph: In 1958, Rothko was awarded the first of two major mural commissions, which proved both rewarding and frustrating. The beverage company Joseph Seagram and Sons had recently completed their new building on Park Avenue, designed by architects Mies van der Rohe and Philip Johnson. Rothko agreed to provide paintings for the building's new luxury restaurant, the Four Seasons. This was, as art historian Simon Schama put it, "bring[ing] his monumental dramas right into the belly of the beast".

paragraph: For Rothko, this commission presented a new challenge, since it was the first time he was required not only to design a coordinated series of paintings, but to produce an artwork space concept for a large, specific interior. Over the following three months, Rothko completed forty paintings, comprising three full series in dark red and brown. He altered his horizontal format to vertical, to complement the restaurant's vertical features: columns, walls, doors and windows.

paragraph: The following June, Rothko and his family again traveled to Europe. While on the SS "Independence" he disclosed to journalist John Fischer, who was publisher of "Harper's Magazine", that his true intention for the Seagram murals was to paint "something that will ruin the appetite of every son-of-a-bitch who ever eats in that room". He hoped, he told Fischer, that his painting would make the restaurant's patrons "feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall".

paragraph: While in Europe, the Rothkos traveled to Rome, Florence, Venice and Pompeii. In Florence, he visited Michelangelo's Laurentian Library, to see first-hand the library's vestibule, from which he drew further inspiration for the murals. He remarked that "the room had exactly the feeling that I wanted ... it gives the visitor the feeling of being caught in a room with the doors and windows walled-in shut." He was further influenced by the somber colors of the murals in the Pompeiian Villa of the Mysteries. Following the trip to Italy, the Rothkos voyaged to Paris, Brussels, Antwerp and Amsterdam, before returning to the United States.

paragraph: Once back in New York, Rothko and wife Mell visited the nearly-completed Four Seasons restaurant. Upset with the restaurant's dining atmosphere, which he considered pretentious and inappropriate for the display of his works, Rothko refused to continue the project, and returned his cash advance to the Seagram and Sons Company. Seagram had intended to honor Rothko's emergence to prominence through his selection, and his breach of contract and public expression of outrage were unexpected.

paragraph: Rothko kept the commissioned paintings in storage until 1968. Given that Rothko had known in advance about the luxury decor of the restaurant, and the social class of its future patrons, the motives for his abrupt repudiation remain mysterious. A temperamental personality, Rothko never fully explained his conflicted emotions over the incident. One reading is offered by his biographer, James E.B. Breslin: the Seagram project could be seen as an acting-out of a familiar, in this case self-created "drama of trust and betrayal, of advancing into the world, then withdrawing, angrily, from it ... He was an Isaac who at the last moment refused to yield to Abraham." The final series of "Seagram Murals" was dispersed, and now hangs in three locations: London's Tate Modern in its own Mark Rothko room, Japan's Kawamura Memorial Museum and the National Gallery of Art in Washington, D.C. This episode was the main basis for John Logan's 2009 play "Red".

paragraph: In October 2012, "Black on Maroon", one of the paintings in the Seagram series, was defaced with writing in black ink, while on display at Tate Modern. Restoration of the painting took eighteen months to complete. The BBC's Arts Editor Will Gompertz explained that the ink from the vandal's marker pen had bled all the way through the canvas, causing "a deep wound, not a superficial graze", and that the vandal had caused "significant damage".

paragraph: Section::::Late period.:Rising American prominence.

paragraph: Rothko's first completed space was created in the Phillips Collection in Washington, D.C., following the purchase of four paintings by collector Duncan Phillips. Rothko's fame and wealth had substantially increased; his paintings began to sell to notable collectors, including the Rockefeller family. In January 1961, Rothko sat next to Joseph Kennedy at John F. Kennedy's inaugural ball. Later that year, a retrospective of his work was held at the Museum of Modern Art, to considerable commercial and critical success. In spite of this newfound notoriety, the art world had already turned its attention from the now passé abstract expressionists to the "next big thing", pop art, particularly the work of Warhol, Lichtenstein, and Rosenquist.

paragraph: Rothko labeled pop-art artists "charlatans and young opportunists", and wondered aloud during a 1962 exhibition of pop art, "Are the young artists plotting to kill us all?" On viewing Jasper Johns's flags, Rothko said, "We worked for years to get rid of all that." It was not that Rothko could not accept being replaced, but that he could not accept what was replacing him: he found pop art vapid.

paragraph: Rothko received a second mural commission project, this time for a wall of paintings for the penthouse of Harvard University's Holyoke Center. He made twenty-two sketches, from which ten murals were painted, six were brought to Cambridge, Massachusetts, and only five were installed: a triptych on one wall and opposite two individual panels. Harvard President Nathan Pusey, following an explanation of the religious symbology of the Triptych, had the paintings hung in January 1963, and later shown at the Guggenheim. During installation, Rothko found the paintings to be compromised by the room's lighting. Despite the installation of fiberglass shades, the paintings were all removed by 1979 and, due to the fugitive nature of some of the red pigments, in particular lithol red, were placed in dark storage and displayed only periodically. The murals were on display from November 16, 2014, to July 26, 2015, in the newly renovated Harvard Art Museums, for which the fading of the pigments has been compensated by using an innovative color projection system to illuminate the paintings.

paragraph: On August 31, 1963, Mell gave birth to a second child, Christopher. That autumn, Rothko signed with the Marlborough Gallery for sales of his work outside the United States. In New York, he continued to sell the artwork directly from his studio. Bernard Reis, Rothko's financial advisor, was also, unbeknownst to the artist, the Gallery's accountant and, together with his co-workers, was later responsible for one of art history's largest scandals.

paragraph: Section::::Late period.:Rothko Chapel.

paragraph: The Rothko Chapel is located adjacent to the Menil Collection and The University of St. Thomas in Houston, Texas. The building is small and windowless. It is a geometric, "postmodern" structure, located in a turn-of-the-century middle-class Houston neighborhood. The Chapel, the Menil Collection, and the nearby Cy Twombly gallery were funded by Texas oil millionaires John and Dominique de Menil.

paragraph: In 1964, Rothko moved into his last New York studio at 157 East 69th Street, equipping the studio with pulleys carrying large walls of canvas material to regulate light from a central cupola, to simulate lighting he planned for the Rothko Chapel. Despite warnings about the difference in light between New York and Texas, Rothko persisted with the experiment, setting to work on the canvases. Rothko told friends he intended the chapel to be his single most important artistic statement. He became considerably involved in the layout of the building, insisting that it feature a central cupola like that of his studio. Architect Philip Johnson, unable to compromise with Rothko's vision about the kind of light he wanted in the space, left the project in 1967, and was replaced with Howard Barnstone and Eugene Aubry. The architects frequently flew to New York to consult and on one occasion brought with them a miniature of the building for Rothko's approval.

paragraph: For Rothko, the chapel was to be a destination, a place of pilgrimage far from the center of art (in this case, New York) where seekers of Rothko's newly "religious" artwork could journey. Initially, the chapel, now non-denominational, was to be specifically Roman Catholic, and during the first three years of the project (1964–67) Rothko believed it would remain so. Thus, Rothko's design of the building and the religious implications of the paintings were inspired by Roman Catholic art and architecture. Its octagonal shape is based on a Byzantine church of St. Maria Assunta, and the format of the triptychs is based on paintings of the Crucifixion. The de Menils believed the universal "spiritual" aspect of Rothko's work would complement the elements of Roman Catholicism.

paragraph: Rothko's painting technique required considerable physical stamina that the ailing artist was no longer able to muster. To create the paintings he envisioned, Rothko was forced to hire two assistants, to apply the chestnut-brown paint in quick strokes of several layers: "brick reds, deep reds, black mauves". On half of the works, Rothko applied none of the paint himself, and was for the most part content to supervise the slow, arduous process. He felt the completion of the paintings to be "torment", and the inevitable result was to create "something you don't want to look at".

paragraph: The chapel is the culmination of six years of Rothko's life, and represents his gradually growing concern for the transcendent. For some, to witness these paintings is to submit one's self to a spiritual experience, which, through its transcendence of subject matter, approximates that of consciousness itself. It forces one to approach the limits of experience, and awakens one to the awareness of one's own existence. For others, the chapel houses fourteen large paintings whose dark, nearly impenetrable surfaces represent hermeticism and contemplation.

paragraph: The chapel paintings consist of a monochrome triptych in soft brown, on the central wall, comprising three 5-by-15-foot panels, and a pair of triptychs on the left and right, made of opaque black rectangles. Between the triptychs are four individual paintings, measuring 11-by-15 feet each. One additional individual painting faces the central triptych, from the opposite wall. The effect is to surround the viewer with massive, imposing visions of darkness. Despite its basis in religious symbolism (the triptych) and less-than-subtle imagery (the crucifixion), the paintings are difficult to attach specifically to traditional Christian motifs, and may act on the viewers subliminally. Active spiritual or aesthetic inquiry may be elicited from the viewer, in the same way a religious icon with specific symbolism does. In this way, Rothko's erasure of symbols both removes and creates barriers to the work.

paragraph: As it turned out, these works would be his final artistic statement to the world. They were finally unveiled at the chapel's opening in 1971. Rothko never saw the completed chapel, and never installed the paintings. On February 28, 1971, at the dedication, Dominique de Menil said, "We are cluttered with images and only abstract art can bring us to the threshold of the divine", noting Rothko's courage in painting what might be called "impenetrable fortresses" of color. The drama for many critics of Rothko's work is the uneasy position of the paintings between, as Chase notes, "nothingness or vapidity" and "dignified 'mute icons' offering 'the only kind of beauty we find acceptable today'".

paragraph: Section::::Suicide and estate lawsuit.

paragraph: In early 1968, Rothko was diagnosed with a mild aortic aneurysm. Ignoring doctor's orders, Rothko continued to drink and smoke heavily, avoided exercise, and maintained an unhealthy diet. "Highly nervous, thin, restless", was his friend Dore Ashton's description of Rothko at this time. However, he did follow the medical advice given not to paint pictures larger than a yard in height, and turned his attention to smaller, less physically strenuous formats, including acrylics on paper. Meanwhile, Rothko's marriage had become increasingly troubled, and his poor health and impotence resulting from the aneurysm compounded his feeling of estrangement in the relationship. Rothko and his wife Mell (1921–1970) separated on New Year's Day 1969, and he moved into his studio.

paragraph: On February 25, 1970, Oliver Steindecker, Rothko's assistant, found the artist in his kitchen, lying dead on the floor in front of the sink, covered in blood. He overdosed on barbiturates, and cut an artery in his right arm with a razor blade. There was no suicide note. He was 66. The Seagram Murals arrived in London for display at the Tate Gallery on the day of his suicide.

paragraph: Shortly before his death, Rothko and his financial advisor, Bernard Reis, had created a foundation, intended to fund "research and education", that would receive the bulk of Rothko's work following his death. Reis later sold the paintings to the Marlborough Gallery, at substantially reduced values, and then split the profits from sales with Gallery representatives. In 1971, Rothko's children filed a lawsuit against Reis, Morton Levine, and Theodore Stamos, the executors of his estate, over the sham sales. The lawsuit continued for more than 10 years, and became known as the Rothko Case. In 1975, the defendants were found liable for negligence and conflict of interest, were removed as executors of the Rothko estate by court order, and, along with Marlborough Gallery, were required to pay a $9.2 million damages judgment to the estate. This amount represents only a small fraction of the eventual vast financial value, since achieved, by numerous Rothko works produced in his lifetime.

paragraph: Rothko's separated wife Mell, aged 48, like Rothko a heavy drinker, died six months after him. The cause of death was listed as "hypertension due to cardiovascular disease".

paragraph: Section::::Legacy.

paragraph: Rothko's complete works on canvas, 836 paintings, have been catalogued by art historian David Anfam, in his "Mark Rothko: The Works on Canvas: Catalogue Raisonné", published by Yale University Press in 1998.

paragraph: A previously unpublished manuscript by Rothko, "The Artist's Reality", about his philosophies on art, edited by his son Christopher, was published by Yale University Press in 2004.

paragraph: "Red", a play by John Logan based on Rothko's life, opened at the Donmar Warehouse in London, on December 3, 2009. The play, starring Alfred Molina and Eddie Redmayne, centered on the period of the Seagram Murals. This drama received excellent reviews, and usually played to full houses. In 2010 "Red" opened on Broadway, where it won six Tony Awards, including Best Play. Molina played Rothko in both London and New York.

paragraph: The family collection of Rothko works, owned by the Mark Rothko Estate, has been represented by the Pace Gallery in New York since 1978.

paragraph: In Rothko's birthplace, the Latvian city of Daugavpils, a monument to him, designed by sculptor Romualds Gibovskis, was unveiled on the bank of the Daugava River in 2003. In 2013 the Mark Rothko Art Centre opened in Daugavpils, after the Rothko family had donated a small collection of his original works.

paragraph: A number of Rothko's works are held by the Museo Nacional Centro de Arte Reina Sofía and by the Thyssen-Bornemisza Museum, both in Madrid. The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY includes both Rothko's late painting, "Untitled" (1967) and a large mural by Al Held entitled "Rothko's Canvas" (1969–70).

paragraph: Section::::Resale market.

paragraph: Art collector Richard Feigen said that he sold a red Rothko painting to the National Gallery of Berlin for $22,000 in 1967.

paragraph: In November 2005, Rothko's 1954 painting "Homage to Matisse" broke the record for any postwar painting at a public auction, selling for $22.5 million.

paragraph: In May 2007, Rothko's 1950 painting "White Center (Yellow, Pink and Lavender on Rose)" broke this record again, selling at Sotheby's in New York for $72.8 million. The painting was sold by banker David Rockefeller, who attended the auction.

paragraph: In November 2003, an untitled red and brown Rothko painting from 1963, measuring 69 by 64 inches, sold for $7,175,000.

paragraph: In May 2011, Christie's sold a previously unknown Rothko painting, accounting for the work as #836. The work was added to the existing Rothko catalog of 835 works after expert authentication. The newly discovered painting, "Untitled, #17", created in 1961, came to light when a private collector put it up for sale, claiming he bought it directly from the artist. A seven-foot-tall oil on canvas in red and pink on an ochre background, the painting opened with a house bid of $13 million and sold for $30 million.

paragraph: In May 2012, Rothko's 1961 painting "Orange, Red, Yellow" (#693 in Anfam's "catalogue raisonné") was sold by Christie's in New York for $86,862,500, setting a new nominal value record for a postwar painting at a public auction and putting it on the list of most expensive paintings.

paragraph: In November 2012, his 1954 painting "No. 1 (Royal Red and Blue)" was sold for $75.1 million at a Sotheby's auction in New York.

paragraph: In 2014, Rothko's "No. 21" (1953) sold for $44,965,000. The painting had been part of the Schlumberger collection.

paragraph: In May 2014, "Untitled (Red, Blue, Orange)" (1955), which had been owned by Microsoft co-founder Paul Allen, sold for $56.2 million.

paragraph: In November 2014, a smaller Rothko painting in two shades of brown sold for $3.5 million, within its estimated range of $3 to 4 million.

paragraph: In May 2015, "Untitled (Yellow and Blue)" (1954) sold for $46.5 million at a Sotheby's auction in New York. The painting was owned by Rachel Mellon. That month, "No. 10" (1958) sold for $81.9 million at a Christies's auction in New York.

paragraph: In May 2016, "No. 17" (1957) was sold for $32.6 million at Christie's by an Italian collector.

paragraph: In November 2018, "Untitled (Rust, Blacks on Plum)" (1962) was offered at auction by Christie's with an estimated price of $35 million to $45 million; it sold for $35.7 million.

paragraph: Section::::See also.

paragraph: BULLET::::- Rothko Pavilion

paragraph: Section::::Sources.

paragraph: BULLET::::- Baal-Teshuva, Jacob. "Mark Rothko, 1903–1970: Pictures as Drama." New York: Taschen, 2003.

paragraph: BULLET::::- Nietzsche, Friedrich. "The Birth of Tragedy." "Basic Writings of Nietzsche", translated and edited by Walter Kaufmann, The Modern Library, 2000, pp. 1–144.

paragraph: BULLET::::- Schama, Simon. "The Power of Art." New York: HarperCollins, 2006.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Anfam, David. "Abstract Expressionism." New York: Thames & Hudson, 1990.

paragraph: BULLET::::- Anfam, David. "Mark Rothko: The Works on Canvas, A Catalogue Raisonne." New Haven: Yale University Press, 1998.

paragraph: BULLET::::- Cohen-Solal, Annie. "Mark Rothko." Actes-Sud, 2013.

paragraph: BULLET::::- Collins, Bradford R. (ed.) "Mark Rothko: The Decisive Decade, 1940–1950." New York: Skira Rizzoli, 2012.

paragraph: BULLET::::- Logan, John. "Red." London: Oberon Books, 2009.

paragraph: BULLET::::- Rothko, Christopher (ed.). "The Artist's Reality." New Haven: Yale University Press, 2006.

paragraph: BULLET::::- Rothko, Mark. "The Individual and the Social" (pp. 563–565) in Harrison, Charles & Paul Wood (eds.), "Art in Theory 1900–1990: An Anthology of Changing Ideas" (563–565). Malden, MA: Blackwell Publishers, Ltd., 1999.

paragraph: BULLET::::- Seldes, Lee. "The Legacy of Mark Rothko." New York: DaCapo, 1996.

paragraph: BULLET::::- Waldman, Diane. "Mark Rothko, 1903–1970: A Retrospective." New York: Harry N. Abrams, 1978.

paragraph: Section::::External links.

paragraph: BULLET::::- Raduraksti (Latvia for "lineage") and Daugavpils Rabinats Fonds 4359 Apraksts 2 Lieta 8, show his birth and circumcision in 1903 on September 12 and 19 on the Russian calendar (equivalent to September 25 and October 1 in the west) in male record #392 (top-right corner of image #185)

paragraph: BULLET::::- Mark Rothko on Wikiart.org

paragraph: BULLET::::- 1958–59 Murals, Pace Gallery

paragraph: BULLET::::- The Rothko Chapel in Houston, Texas, is dedicated to Rothko paintings and non-denominational worship

paragraph: BULLET::::- ArtCyclopedia contains links to galleries and museums with Rothko pieces and articles on Rothko.

paragraph: BULLET::::- "Guardian" slideshow including pictures of works and photograph of Rothko

paragraph: BULLET::::- Mark Rothko, The Art Story

paragraph: BULLET::::- BBC's "Power of Art" The documentary series "Simon Schama's Power of Art" featured Mark Rothko.

paragraph: BULLET::::- "Rothko, an abstract humanist" DVD, documentary film by Isy Morgensztern. French/English NTSC.

paragraph: BULLET::::- Mark Rothko Art Centre, Daugavpils, Latvia

paragraph: BULLET::::- Mark Rothko Centenary, Latvia 2003 Mark Rothko Centenary celebration in Latvia. Conference and exhibition photo gallery.

paragraph: BULLET::::- Mark Rothko Broadcast, Utrecht 2015 Mark Rothko radio podcast on ConcertZender Radio, Utrecht, The Netherlands.

paragraph: Tate Modern exhibition

paragraph: BULLET::::- Mark Rothko exhibition at Tate Modern, London, September 2008 – February 2009 includes curator interview

paragraph: BULLET::::- Press reviews:

paragraph: BULLET::::- "The Times" (includes video)

paragraph: BULLET::::- "The Times", a second "Times" review

paragraph: BULLET::::- Welcome to his dark side ..., Laura Cumming, "The Observer", guardian.co.uk, 28 September 2008

paragraph: BULLET::::- You can have too much Rothko – Tom Sutcliffe, "The Independent", 3 October 2008.

paragraph: BULLET::::- "The Telegraph"

paragraph: Whitechapel Gallery exhibition

paragraph: BULLET::::- Rothko Britain exhibition at Whitechapel Gallery, London, 9 September 2011 – 26 February 2012

paragraph: BULLET::::- Reviews:

paragraph: BULLET::::- "The Guardian" review September 11, 2011

paragraph: BULLET::::- "The Guardian" review September 8, 2011

paragraph: BULLET::::- "The Telegraph" review 9 September 2011

paragraph: BULLET::::- "Timeout" article

paragraph: BULLET::::- "The Independent" article 11 September 2011

paragraph: Smithsonian Archives of American Art

paragraph: BULLET::::- Interview with Bernard Braddon and Sidney Schectman Conducted by Avis Berman, New York City, New York, 1981 October 9. Smithsonian Institution Archives of American Art (Braddon & Schectman were owners of the Mercury Gallery which exhibited the works of the Ten in the 1930s).

paragraph: BULLET::::- Oral history interview with Sonia Allen, 1984 September 15; Rothko's sister

alias:
マーク・ロスコ
מארק רותקו
Marcus Rothkowitz

description: American painter

enwikiquote_title: Mark Rothko

wikidata_label: Mark Rothko

wikipedia_title: Mark Rothko