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 Martin, former World Bantamweight Champion, in two World Jr. Lightweight Title Defenses at Madison Square Garden and Ebbets Field in Brooklyn. <mask> won both bouts in two fifteen round points decisions, but the fighting was fierce, particularly in their second bout.In their brutal July bout, the Associated Press gave <mask> eight of the fifteen rounds, and Martin only four, with three even. The fighting was close throughout the contest. <mask> received a gash from a head butt in the first round, while <mask> cut Martin's right cheek in the third. In the tenth, Martin's right eyebrow was cut deeply. <mask> also had a large knot above his right eye, a bloodly nose, and a cut behind his right ear. Two World Jr. Lightweight Title Defenses with Santiago Zorilla, December 1928, April 1929
<mask> fought a ten-round draw with Panamanian Santiago Zorrilla on December 3, 1928 before 15,000, at the State Armory in San Francisco. <mask> scored frequently with rights to the face of his opponent, and in the tenth briefly sent Zorrilla to the mat, but he received a badly swollen eye in the ninth.Zorrilla may not have been of the caliber of many of <mask>'s previous title opponents. <mask> was able to defend adequately against the more frequent blows of Zorilla. On April 4, 1929, in another World Jr. Lightweight Title Match, <mask> won a ten-round points decision against Zorrilla before a capacity crowd at the Olympic Auditorium in Los Angeles. The bout had no knockdowns, and was fast, without either boxer taking a decided edge for long, though both boxers received and dealt a number of effective blows. The bout was refereed by navy Lieutenant Jack Kennedy, a common referee of Naval bouts and a close associate of both "Abe the Newsboy" Hollandersky and Jack Dempsey. Kennedy announced the winner of each round, giving four to <mask>, only one to Zorilla, with five tied. Zorrilla had a decided disadvantage in both reach and

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 height, having a six-inch height disadvantage over the 5' 7 1/2" <mask>.His shorter reach may have accounted for Zorrilla's difficulty in landing many telling blows against the defense of <mask>. <mask> fought Zorrilla twice more in 1930, receiving a win and another draw. On May 12, 1931, <mask> lost to Cecil Payne at the Olympic Auditorium in Los Angeles. Payne injured <mask>'s right eye in the first which affected <mask>'s vision throughout the bout, and the eye was nearly closed by the third round. <mask> was down briefly for a count of one in the seventh from a staggering left to the chin, but the boxing was close in some respects through the bout. <mask> may have been affected by a wrenched shoulder he had suffered around mid-April which had forced him to delay this bout with Payne. Payne took six of the ten rounds.Last defense of the Jr. Lightweight Title, Sal Sorio, May 1929
In his final World Jr. Lightweight Title match, on May 20, 1929, <mask> defeated "Baby" Sal Sorio at Wrigley Field in Los Angeles in a ten-round points decision. Though Sorio had been a highly effective knockout boxer, <mask> staged an effective defense taking eight of the ten rounds for a decision. As he had in other bouts, <mask>'s long left made it frequently to the head and body of Sorio, holding off his attack. Sol had the champion in distress, however in both the third and eighth rounds. <mask> was down briefly in the third, and in the eighth punished <mask> with three of his signature short right jabs. <mask>, however used his superior ring experience and longer reach to gain the victory. On June 14, 1932, <mask> decisively defeated Carter in a seventh-round technical knockout at the Arcade Auditorium in Vancouver, Canada.It was a brutal defeat for Carter, and he was unable to continue in the seventh. On July 9, 1928, Goldie Hess defeated <mask>, at the Olympic Auditorium in Los Angeles in a convincing ten round non-title

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 points decision, though the scoring was only six rounds for Hess. Fighting as a lightweight at 136 1/2 pounds on August 14, 1930, <mask> defeated black boxer Leslie "Wildcat" Carter at the Civic Auditorium in Seattle, Washington in a six-round points decision. After the first round, <mask> opened up with his characteristic left jab, and right crosses, hitting Carter repeatedly in the last five rounds. At 134 pounds, he had drawn with Carter on September 3, 1928 at the Arena in Vancouver, British Columbia. At 136 1/4, on July 1, 1931, <mask> again defeated Goldie Hess at the Civic Ice Arena in Seattle in an 8-round points decision. In the feature non-title bout, <mask> characteristically used his highly effective left against Hess, often with blows to Hess's face.<mask> won the bout on points by a comfortable margin. On August 19, 1931, <mask> defeated Frankie Stetson at the Auditorium in Oakland, California in a ten-round points decision. Stetson was down for a count of nine in the first from a left swing by <mask>. By the seventh, Stetson was cut by a shot to the right eye from <mask>. The referee gave eight of the ten rounds to <mask> with only two to Stetson. On September 3, 1931, <mask> defeated Cecil Payne in a ten-round points decision in Sacramento, California. <mask> appeared to be the aggressor through all but three rounds, though Payne was effective in the third round.Fighting at 137 3/4 on September 22, 1931, <mask> defeated Eddie Thomas at the Armory in Portland, Oregon, in a ten-round points decision. In the fourth round, Thomas was down for a count of eight from a left hook to the chin from <mask>. Other bouts with Sal Sorio, 1932
<mask> fought Sorio on two other occasions, on February 17, 1932, winning in a ten-round points decision in Sorio's home turf of San Bernardino and on August 19, 1932 at Legion Stadium in Hollywood, winning in  an eighth round disqualification. In their February 17

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 bout, before a crowd of 900, <mask> piled up a commanding lead in points in each of the ten rounds. In the fourth and seventh Sorio attempted to rally, but his blows did not connect effectively against the defense of <mask>. <mask> effectively countered the left hook of Sorio to the body, which was an important blow in Sorio's offensive strategy. In their August 19 bout, Sorio seemed to have been losing the bout, having been dropped twice to the mat in the sixth round, once for a count of nine.In the eighth, Sorio landed a particularly "offensive punch" below the belt to <mask> and the referee ended the bout, though he had been warned about low blows in the previous round. Losing the World Jr. Lightweight Title to Benny Bass, December 1929

<mask> lost the belt in December 20, 1929, when he was KO'd by Benny Bass in the second of fifteen rounds at Madison Square Garden. By this time the division was usually referenced as the Super Featherweight Title, though the weight range was nearly identical to Jr. Lightweight. Bass was the former 1927 NBA World Featherweight Champion, and an important opponent. The first round of their December bout appeared to be clearly taken by <mask>. The reigning champion connected with two blows to the chin of Bass that seemed to stagger him. Unexpectedly, in the opening of the second, Bass became the aggressor with their first close flurry of blows causing <mask> to drop to the canvas for a count of nine after a strong right to the jaw.<mask> was up only to have Bass follow him around the ring aggressively and land two more strong rights to the jaw which landed <mask> on the mat again. <mask> attempted, but was unable to rise fully before sinking again to the mat. Both of <mask>'s drops to the mat occurred in less that a minute into the second round. The bout was exceptional for such a sudden and abrupt turn of events. An investigation was held after the bout on suspicion of a


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 fixed bout, as some believed the betting was 4 to 1 for Bass before the fight, but the ruling held. Davis J. Walsh of the Times Herald, felt strongly that the fight was not fixed. On July 23, 1930, <mask> defeated Don Fraser at Natatorium Park before a crowd of 6,000 in a six-round points decision in Spokane, Washington.Jack Dempsey, a California resident at the time, refereed the bout. Bouts with Eddie Mack
On August 28, 1930, <mask> defeated Eddie Mack for the only time in Seattle in a six-round unanimous decision. In a previous match on November 26, 1929, shortly before losing the World Jr. Lightweight Title, <mask> had lost to Mack in a ten-round points decision. On April 23, 1927, in a split decision, the referees called their ten-round bout at Civic Auditorium in Denver a draw. Mack was a tall lightweight from Denver, and <mask> may not have matched up well with a boxer an inch and a half taller who had boxed primarily as a lightweight. Taking the USA California Lightweight Championship, March 1931
On March 24, 1931, <mask> defeated black boxer Goldie Hess at the Olympic Auditorium in Los Angeles, in a ten-round points decision taking the USA California State Lightweight Championship. In a convincing victory, <mask> was given seven of the ten rounds with two to Hess and one even.<mask> was the aggressor, scoring points in every round effectively utilizing both rights and lefts. <mask>'s greatest advantage was in the seventh when he scored with blows to the head of Hess. He was awarded the State Championship belt by actress Joan Blondell. Win over former World Lightweight Champion Sammy Mandell, July 1932

On July 8, 1932, <mask> defeated 1926 World Lightweight Champion Sammy Mandell at Legion Stadium in Hollywood California. Mandell was making a comeback and <mask> reportedly won the decision without trouble, though the bout was slow and deliberate. <mask> had the best of the match in the second and


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 seventh, and concentrated on Mandell's body. Move to Australia, 1933, and service in WWII
In 1933, <mask> moved to Australia, where he lived and boxed until his retirement from boxing in 1942.Boxing in Honolulu, Hawaii, December 1935
On December 10, 1935, <mask> fought Kid Moro in Honolulu in a bout that was billed as the Welterweight Championship of Hawaii. He won the bout in a ten-round points decision. The Oakland Tribune put the date for this fight as November 15, however, and reported that Moro had accumulated enough points to take the bout. Taking the Australian Lightweight Title, March 1938
On March 12, 1938, <mask> first took the Australian Lightweight Title in a fourth-round knockout against Jimmy Dundee at Newcastle Stadium in Sydney, Australia. He impressively held the title until July 3, 1941, losing in a fifteen-round points decision against Vic Patrick that was quite unpopular with the crowd. He would lose twice more to Patrick in Sydney shortly before his retirement from boxing. <mask>'s last bout was on July 18, 1942, when he defeated Llew Edwards in a ten-round points decision in Melbourne, Australia.By May 1943, <mask> was serving in the Australian Army where he reached the rank of Sergeant. He worked as a boxing instructor at American Army camps in Australia. Return to America after WWII
On his return from Australia in the 1940s, <mask> worked as a bellboy and boxing referee in Seattle. After a lengthy illness, he died in Seattle, Washington, on August 3, 1953, at the age of 50. He was survived by his wife, Grace, her son, Bill, whom he had adopted, and his mother. See also
List of super featherweight boxing champions

References

External links

<mask> <mask> - CBZ Profile

1902 births
1953 deaths
Boxers from Washington (state)
Boxers from California
Featherweight boxers
Super-featherweight boxers
World boxing champions
People from Sequim, Washington
American male boxers
People from

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texts: <mask> (), born <mask> (, ; name not Anglicized until 1940; September 25, 1903 – February 25, 1970), was an American abstract painter of Latvian Jewish descent. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970. Although <mask> did not personally subscribe to any one school, he is associated with the American Abstract Expressionist movement of modern art. Originally emigrating to Portland, Oregon from Russia with his family, <mask> later moved to New York City where his youthful period of artistic production dealt primarily with urban scenery. In response to World War II, <mask>'s art entered a transitional phase during the 1940s, where he experimented with mythological themes and Surrealism to express tragedy. Toward the end of the decade <mask> painted canvases with regions of pure color which he further abstracted into rectangular color forms, the idiom he would use for the rest of his life. In his later career, <mask> executed several canvases for three different mural projects.The Seagram murals were to have decorated the Four Seasons Restaurant in the Seagram Building, but <mask> eventually grew disgusted with the idea that his paintings would be decorative objects for wealthy diners and refunded the lucrative commission, donating the paintings to museums including the Tate Modern. The Harvard Mural series was gifted to a dining room in Harvard's Holyoke Center (now Smith Campus Center); their colors faded badly over time due to <mask>'s use of the pigment Lithol Red together with regular sunlight exposure. The Harvard series has since been restored using a

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Markus Yakovlevich Rothkowitz
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 special lighting technique. <mask> contributed 14 canvases to a permanent installation at the Rothko Chapel, a non-denominational chapel in Houston, Texas. Although <mask> lived modestly for much of his life, the resale value of his paintings grew tremendously in the decades following his suicide in 1970. Childhood
<mask> was born in Daugavpils, Latvia (then in the Russian Empire). His father, Jacob (Yakov<mask>, was a pharmacist and intellectual who initially provided his children with a secular and political, rather than religious, upbringing.According to <mask>, his Marxist father was "violently anti-religious". In an environment where Jews were often blamed for many of the evils that befell Russia, <mask>'s early childhood was plagued by fear. Despite <mask>'s modest income, the family was highly educated ("We were a reading family", <mask>'s sister recalled), and Rothko spoke Lithuanian Yiddish (Litvish), Hebrew and Russian. Following his father's return to the Orthodox Judaism of his own youth, <mask>, the youngest of four siblings, was sent to the cheder at age five, where he studied the Talmud, although his elder siblings had been educated in the public school system. Migration from Russia to the US
Fearing that his elder sons were about to be drafted into the Imperial Russian Army, <mask> emigrated from Russia to the United States. <mask> remained in Russia with his mother and elder sister Sonia. They arrived as immigrants, at Ellis Island, in late 1913.From there, they crossed the country, to join Jacob and the elder brothers, in Portland, Oregon. Jacob's death, a few months later, of colon cancer, left the family without economic support. Sonia

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) Rothkowitz
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texts: operated a cash register, while <mask> worked in one of his uncle's warehouses, selling newspapers to employees. His father's death also led <mask> 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 one again. <mask> 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, Oregon, at age 17.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, <mask> was passionate about issues such as workers' rights and contraception. At the time, Portland was a center of revolutionary activity in the U.S. and the region where the revolutionary syndicalist union Industrial Workers of the World (IWW) was active. Having grown up around radical workers' meetings, <mask> attended meetings of the IWW, including anarchists such as Bill Haywood and Emma Goldman, where he developed strong oratorical skills he later used 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.<mask> 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 Yale elitist and racist. <mask> and a friend, Aaron Director, started a satirical

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 magazine, The Yale Saturday Evening Pest, that lampooned the school's stuffy, bourgeois tone. Rothko was more an autodidact 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, <mask> dropped out, and he did not return until he was awarded an honorary degree 46 years later. Early career
In the autumn of 1923, <mask> 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 <mask>, 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. <mask> 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, 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, <mask> began to view art as a tool of emotional and religious expression.<mask>'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, <mask> was immensely pleased. <mask>'s circle
<mask>'s move to New York landed him in a fertile artistic atmosphere. Modernist painters regularly exhibited in New York galleries, and the city's museums were an invaluable resource for a budding artist's knowledge and skills. Among the important early influences on him were

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texts: the works of the German Expressionists, the surrealist art of Paul Klee, and the paintings of Georges Rouault. In 1928, with a group of other young artists, <mask> 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 <mask> began instructing schoolchildren in drawing, painting, and clay sculpture at the Center Academy of the Brooklyn Jewish Center, where he remained active for over twenty years. During the early 1930s, <mask> 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 <mask> 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 him. Soon, <mask>'s paintings took on subject matter and color similar to Avery's, as seen in Bathers, or Beach Scene of 1933–1934. <mask>, 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, <mask> 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, <mask> took the very unusual step of displaying

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 works done by his pre-adolescent students from the Center Academy, alongside his own. His family was unable to understand <mask>'s decision to be an artist, especially considering the dire economic situation of the Depression. Having suffered serious financial setbacks, the <mask>witzes were mystified by <mask>'s seeming indifference to financial necessity. They felt he was doing his mother a disservice by not finding a more lucrative and realistic career. First solo show in New York
Returning to New York, <mask> 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. <mask>'s use of rich fields of colors moved beyond Avery's influence. In late 1935, <mask> joined with Ilya Bolotowsky, Ben-Zion, Adolph Gottlieb, Louis Harris, Ralph Rosenborg, Louis Schanker and Joseph Solman to form "The Ten". According to a gallery show catalog, the mission of the group was "to protest against the reputed equivalence of American painting and literal painting." <mask> 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 <mask>'s paintings "display authentic coloristic values." Later, in 1938, a show was held at the Mercury Gallery in New York, intended as a protest


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 against the Whitney Museum of American Art, which the group regarded as having a provincial, regionalist agenda. Also during this period, <mask>, like Avery, Gorky, Pollock, de Kooning, and many others, found employment with the Works Progress Administration. Development of style
<mask>'s work has been described in eras. His early period (1924-1939) saw representational art inflected by impressionism, usually depicting urban scenes. His middle, "transitional" years (1940-1950) involved phases of figurative mythological abstraction, "biomorphic" abstraction, and "multiforms", the latter being canvases with large regions of color.<mask>'s transitional decade was influenced by World War II, which prompted him to seek novel expression of tragedy in art. During this time <mask> was influenced by ancient Greek tragedians such as Aeschylus and his reading of Nietzsche's The Birth of Tragedy. In <mask>'s mature or "classic" period (1951-1970), he consistently painted rectangular regions of color, intended as "dramas" to elicit an emotional response from the viewer. In 1936, <mask> began writing a book, never completed, about similarities in the art of children and the work of modern painters. According to <mask>, 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."<mask> was using fields of color in his aquarelles and city scenes. His style was already evolving in the direction of his renowned later works.


texts:
 Despite this newfound exploration of color, <mask> turned his attention to other formal and stylistic innovations, inaugurating a period of surrealist paintings influenced by mythological fables and symbols. Maturity

<mask> separated temporarily from his wife Edith in mid-1937. They reconciled several months later, but their relationship remained tense  and they would divorce in 1944. On February 21, 1938, <mask> 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 antisemitism in America and Europe, <mask> in 1940 abbreviated his name from "<mask>" to "<mask>".The name "Roth", a common abbreviation, was still identifiably Jewish, so he settled upon "<mask>." Inspiration from mythology
Fearing that modern American painting had reached a conceptual dead end, <mask> 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 1948, <mask> 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 <mask>, "without monsters and gods, art cannot enact a drama".<mask>'s use of mythology as a commentary on current history was

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 not novel. <mask>, 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. <mask> 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. Nietzsche's influence
<mask>'s new vision attempted to address modern man's spiritual and creative mythological requirements.The most crucial philosophical influence on <mask> 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 <mask>'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." <mask> believed his art could free unconscious energies, previously bound 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

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 art".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 <mask>'s paintings from this period illustrates his use of myth: Antigone, Oedipus, The Sacrifice of Iphigenia, Leda, The Furies, Altar of Orpheus. <mask> 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, <mask> 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. "Mythomorphic" abstractionism
At the root of <mask> and Gottlieb's presentation of archaic forms and symbols, illuminating modern existence, had been the influence of Surrealism, Cubism, and abstract art.In 1936, <mask> attended two exhibitions at the Museum of Modern Art, "Cubism and Abstract Art", and "Fantastic Art, Dada and Surrealism". 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. <mask> and his peers, Gottlieb and Newman, met and discussed the art and ideas of these European pioneers, as well as those of Mondrian. 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, <mask> and Gottlieb issued a manifesto, written mainly by <mask>. Addressing the Times critic's self-professed "befuddlement" over


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 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". <mask>'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. Break with Surrealism
On June 13, 1943, <mask> and Sachar separated again. <mask> suffered a depression following their divorce.Thinking that a change of scenery might help, <mask> 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 <mask>'s later works. In the autumn of 1943, <mask> returned to New York. He met with noted collector and art dealer Peggy Guggenheim, but she was initially reluctant to take on his artworks. <mask>'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, <mask> had been stimulated by Still's abstract landscapes of color, and his style shifted away from surrealism. <mask>'s experiments in interpreting the unconscious symbolism of everyday


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 forms had run their course. His future lay with abstraction:

<mask>'s masterpiece Slow Swirl at the Edge of the Sea (1945) illustrates his newfound propensity towards abstraction. It has been interpreted as a meditation on <mask>'s courtship of his second wife, Mary Alice "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 <mask> 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 <mask>'s later experiments in pure color.The painting was completed, not coincidentally, in the year the Second World War ended. Despite the abandonment of his "Mythomorphic Abstractionism", <mask> 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. "Multiforms"
In 1946, <mask> created what art critics have since termed his transitional "multiform" paintings. Although <mask> never used the term multiform himself, it is nonetheless an accurate description of these paintings. Several of them, including No. 18 and Untitled (both 1948), are less transitional than fully realized.<mask> 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


texts: 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 <mask> to a realization of his signature style of rectangular regions of color, which he continued to produce for the rest of his life. In the middle of this crucial period of transition, <mask> 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.In 1948, <mask>, Robert Motherwell, William Baziotes, Barnett Newman, and David Hare founded the Subjects of the Artist School at 35 East 8th Street. Well attended lectures there were open to the public, with speakers such as Jean Arp, John Cage and Ad Reinhardt, but the school failed financially and closed in the spring of 1949. 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, <mask> 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. <mask> described his new

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 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." In 1947 he had a first solo exhibition at the Betty Parsons Gallery (March 3 to 22). In 1949, <mask> 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. Late period
Soon, the "multiforms" developed into the signature style; by early 1949 <mask> 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", <mask> 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. <mask> 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, <mask> painted in oil only on large canvases with vertical formats. Very


texts:
 large-scale designs were used in order to overwhelm the viewer, or, in <mask>'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, <mask> stated:

<mask> 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. As <mask> achieved success, he became increasingly protective of his works, turning down several potentially important sales and exhibition opportunities:

<mask>'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, <mask> emphasized more emphatically the spiritual aspect of his artwork, a sentiment that would culminate in the construction of the Rothko Chapel. 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," <mask> began to employ dark blues and greens; for many critics of his work this shift in colors was representative of a growing darkness within <mask>'s personal life. <mask>'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,


texts:
 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 <mask> 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. <mask> 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.European travels: increasing fame
<mask> in the monastery of San Marco, Florence, most impressed him. Fra Angelico's spirituality and concentration on light appealed to <mask>'s sensibilities, as did the economic adversities the artist faced, which <mask> saw as similar to his own. <mask> 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

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 Pollock and William Baziotes.It also created a dispute between <mask> and Barnett Newman, after Newman accused <mask> 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 in 1955 as a good investment, Newman and Clyfford Still branded him a sell-out with bourgeois aspirations. Still wrote to <mask> to ask that the paintings he had given him over the years be returned. <mask> was deeply depressed by his former friends' jealousy. During the 1950 Europe trip, <mask>'s wife, Mell, 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 <mask>'s mother, Kate Goldin.Reactions to his own success
Shortly thereafter, due to the Fortune magazine plug and further purchases by clients, <mask>'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. Despite his fame, <mask> 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 <mask>, the paintings were objects that possessed their own form and potential, and


texts:
 therefore, must be encountered as such. Sensing the futility of words in describing this decidedly non-verbal aspect of his work, <mask> 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." <mask> 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:

For <mask>, 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 <mask>'s comment on viewers breaking down in tears before his paintings that may have convinced the de Menils to construct the Rothko Chapel. Whatever <mask>'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. <mask>'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 <mask>'s enterprise"). Kunitz saw <mask> as "a primitive, a shaman who finds the magic formula and leads people to it". Great


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 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 <mask>'s quest.In November 1958, <mask> 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

 There must be a clear preoccupation with death—intimations of mortality ... Tragic art, romantic art, etc., deals with the knowledge of death. Sensuality. Our basis of being concrete about the world. It is a lustful relationship to things that exist. Tension.Either conflict or curbed desire. Irony, This is a modern ingredient—the self-effacement and examination by which a man for an instant can go on to something else. Wit and play ... for the human element. The ephemeral and chance ... for the human element. Hope. 10% to make the tragic concept more endurable. 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." Seagram Murals–Four Seasons restaurant commission

In 1958, <mask> 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 the new Seagram Building skyscraper on Park Avenue, designed by architects Mies van der Rohe and Philip Johnson. <mask> 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

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texts: into the belly of the beast". For <mask>, this Seagram murals 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, <mask> 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. The following June, <mask> 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". 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,

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texts: before going to London where <mask> spent time in the British Museum studying the Turner watercolors. They then traveled to Somerset and stayed with the artist William Scott who was just starting a large mural project and they discussed the respective issues of public and private sponsorship. After the visit the Rothkos continued to St. Ives in the West of England and met up with Patrick Heron and other Cornish painters before returning to London and then the United States. Once back in New York, <mask> 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, <mask> refused to continue the project, and returned his cash advance to the Seagram and Sons Company. Seagram had intended to honor <mask>'s emergence to prominence through his selection, and his breach of contract and public expression of outrage were unexpected.<mask> kept the commissioned paintings in storage until 1968. Given that <mask> 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, although he did write to his friend William Scott in England, “Since we had discussed our respective murals I thought you might be interested to know that mine are still with me. When I returned, I looked again at my paintings and then visited the premises for which they were destined, it seemed clear to me at once that the two were not for each other.” A temperamental personality, <mask> never fully explained his conflicted emotions over the incident. One reading is

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 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 Britain, 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. 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". Rising American prominence
<mask>'s first completed space was created in the Phillips Collection in Washington, D.C., following the purchase of four paintings by collector Duncan Phillips. <mask>'s fame and wealth had substantially increased; his paintings began to sell to notable collectors, including the Rockefeller family. In January 1961, <mask> 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 fame, the art world had already turned its attention from the now passé abstract expressionists to the "next big


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 thing", pop art, particularly the work of Warhol, Lichtenstein, and Rosenquist. <mask> 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, <mask> said, "We worked for years to get rid of all that." It was not that <mask> could not accept being replaced, but that he could not accept what was replacing him: he found pop art vapid. On August 31, 1963, Mell gave birth to a second child, Christopher. That autumn, <mask> 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, <mask>'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. Harvard Murals
<mask> received a second mural commission project, this time for a room of paintings for the penthouse of Harvard University's Holyoke Center. He made twenty-two sketches, from which ten wall-sized paintings on canvas were painted, six were brought to Cambridge, Massachusetts, and only five were hung: a triptych on one wall and opposite two individual panels. His aim was to create an environment for a public place. 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, <mask> found the paintings to be compromised by the room's lighting.Despite the installation of fiberglass shades, the paintings were


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 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. Rothko Chapel

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. In 1964, <mask> 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, <mask> persisted with the experiment, setting to work on the canvases. <mask> 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 <mask>'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


texts: consult and on one occasion brought with them a miniature of the building for <mask>'s approval. For <mask>, 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 <mask>'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) <mask> believed it would remain so.Thus, <mask>'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 <mask>'s work would complement the elements of Roman Catholicism. <mask>'s painting technique required considerable physical stamina that the ailing artist was no longer able to muster. To create the paintings he envisioned, <mask> 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".The chapel is the culmination of six years of <mask>'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


texts: 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. 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, <mask>'s erasure of symbols both removes and creates barriers to the work. 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. <mask> 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 <mask>'s courage in painting what might be called "impenetrable


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 fortresses" of color. The drama for many critics of <mask>'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'". Suicide and estate lawsuit

In early 1968, <mask> was diagnosed with a mild aortic aneurysm. Ignoring doctor's orders, <mask> 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, <mask>'s marriage had become increasingly troubled, and his poor health and impotence resulting from the aneurysm compounded his feeling of estrangement in the relationship.<mask> and his wife Mell (1944–1970) separated on New Year's Day 1969, and he moved into his studio. On February 25, 1970, Oliver Steindecker, <mask>'s assistant, found the artist lying dead on the kitchen floor in front of the sink, covered in blood. He had 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. Near the end of his life <mask> painted a series known as the "Black on Grays", uniformly featuring a black rectangle above a gray rectangle.These canvases and <mask>'s later work in general have been associated with his depression and suicide, although the association


texts: has been criticized. <mask>'s suicide has been studied in the medical literature where his later paintings have been interpreted as "pictorial suicide notes" due to their somber palettes and especially in contrast with the brighter colors <mask> employed more frequently during the 1950s. Although art critic David Anfam acknowledged that the Black and Grays are interpreted as premonitions of suicide or as "moonscapes" (the first Apollo Moon landings were contemporaneous with their execution), he rejected the interpretations as "naive", arguing instead that the paintings were a continuation of his lifelong artistic themes and not symptoms of a depression. Susan Grange also observed that, following his aneurysm, <mask> executed several smaller works on paper using lighter hues, which are less well-known. Throughout his life <mask> consistently intended his works to evoke a serious dramatic content, regardless of the colors used in an individual painting. When a woman visited his studio asking to buy a "happy" painting featuring warm colors, <mask> retorted, "Red, yellow, orange-aren’t those the colors of an inferno?" Shortly before his death, <mask> and his financial advisor, Bernard Reis, had created a foundation, intended to fund "research and education", that would receive the bulk of <mask>'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


texts: 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. Rothko's separated wife Mell, also a heavy drinker, died six months after him at the age of 48. The cause of death was listed as "hypertension due to cardiovascular disease".<mask>'s complete works on canvas, 836 paintings, have been catalogued by art historian David Anfam, in his <mask>: The Works on Canvas: Catalogue Raisonné (1998), published by Yale University Press. A previously unpublished manuscript by <mask>, The Artist's Reality (2004), about his philosophies on art, edited by his son Christopher, was published by Yale University Press. Red, a play by John Logan based on <mask>'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 <mask> in both London and New York.A recording of Red was produced in 2018 for Great Performances with Molina playing <mask> and Alfred Enoch playing his assistant. In <mask>'s birthplace, the Latvian city of Daugavpils, a monument to him, designed by sculptor Romualds Gibovskis, was unveiled on the bank of the Daugava

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 River in 2003. In 2013 the <mask>ko Art Centre opened in Daugavpils, after the <mask> family had donated a small collection of his original works. A number of <mask>'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 <mask>'s late painting, Untitled (1967) and a large mural by Al Held entitled Rothko's Canvas (1969–70). Bill Clinton and Hillary Rodham Clinton's first date was to a Rothko exhibit at the Yale University Art Gallery in 1970. Resale market
Art collector Richard Feigen said that he sold a red Rothko painting to the National Gallery of Berlin for $22,000 in 1967.In November 2005, <mask>'s painting Homage to Matisse (1954) broke the record for any postwar painting at a public auction, selling for $22.5 million. In May 2007, <mask>'s painting White Center (Yellow, Pink and Lavender on Rose) (1950) 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. In November 2003, an untitled red and brown Rothko painting from 1963, measuring , sold for US$7,175,000. 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

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 opened with a house bid of $13 million and sold for $30 million. In May 2012, <mask>'s painting Orange, Red, Yellow (1961; #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. 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. In 2014, <mask>'s No. 21 (1953) sold for $44,965,000. The painting had been part of the Pierre and São Schlumberger collection.In May 2014, Untitled (Red, Blue, Orange) (1955), which had been owned by Microsoft co-founder Paul Allen, sold for $56.2 million. In November 2014, a smaller Rothko painting in two shades of brown sold for $3.5 million, within its estimated range of $3 million to 4$ million. 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. In May 2016, No.17 (1957) was sold for $32.6 million at Christie's by an Italian collector. 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. On November 15, 2021, No. 7 (1951) was offered at auction by Sotheby's as part of the Macklowe collection. With an estimated price of $70 million to $90 million, it sold for $82 million to a buyer in Asia. See also
 Rothko Pavilion

References

Sources

Baal-Teshuva, Jacob. <mask>, 1903–1970: Pictures as

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 Drama.New York: Taschen, 2003. Nietzsche, Friedrich. "The Birth of Tragedy." Basic Writings of Nietzsche, translated and edited by Walter Kaufmann, The Modern Library, 2000, pp. 1–144. Schama, Simon. The Power of Art.New York: HarperCollins, 2006. Bibliography
Anfam, David. Abstract Expressionism. New York: Thames & Hudson, 1990. Anfam, David. <mask>: The Works on Canvas, A Catalogue Raisonne. New Haven: Yale University Press, 1998.Cohen-Solal, Annie. <mask>. Actes-Sud, 2013. Collins, Bradford R. (ed.) <mask>: The Decisive Decade, 1940–1950. New York: Skira Rizzoli, 2012.Logan, John. Red. London: Oberon Books, 2009. <mask>, Christopher (ed.). The Artist's Reality. New Haven: Yale University Press, 2006. <mask>, <mask>."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. Seldes, Lee. The Legacy of <mask>. New York: DaCapo, 1996.Waldman, Diane. <mask>, 1903–1970: A Retrospective. New York: Harry N. Abrams, 1978. External links

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)
<mask> on Wikiart.org
1958–59 Murals, Pace Gallery

 <mask> at the National Gallery of Art
 The Rothko Chapel in Houston, Texas, is dedicated to Rothko paintings and non-denominational worship
 ArtCyclopedia contains links to galleries and museums with Rothko pieces and articles on <mask>. Guardian slideshow

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 including pictures of works and photograph of <mask>
 "<mask> Talks About Her Father, The Artist <mask>" The Guardian, 14 September 2008. <mask>, The Art Story
 BBC's Power of Art The documentary series Simon Schama's Power of Art featured <mask>. <mask>, an abstract humanist DVD, documentary film by Isy Morgensztern.French/English NTSC. <mask>ko Art Centre, Daugavpils, Latvia
 <mask> Centenary, Latvia 2003 Mark Rothko Centenary celebration in Latvia. Conference and exhibition photo gallery. <mask>ko Broadcast, Utrecht 2015 <mask> radio podcast on ConcertZender Radio, Utrecht, The Netherlands. James E. B. Breslin research archive on <mask>, 1900-1994, Getty Research Institute, Los Angeles. Accession No. 2003.M.23.The archive assembled by Breslin, professor at the University of California, Berkeley, as he researched and wrote <mask>: a biography. Materials include interview recordings and transcripts, correspondence, financial and legal documents, photographs, clippings, assorted printed materials, and extensive notes. Tate Modern exhibition
 <mask>ko exhibition at Tate Modern, London, September 2008 – February 2009 includes curator interview
 Press reviews:
 The Times (includes video)
 The Times, a second Times review
 Welcome to his dark side ..., Laura Cumming, The Observer, guardian.co.uk, 28 September 2008
 You can have too much Rothko – Tom Sutcliffe, The Independent, 3 October 2008. The Telegraph

Whitechapel Gallery exhibition
 Rothko Britain exhibition at Whitechapel Gallery, London, 9 September 2011 – 26 February 2012
 Reviews:
 The Guardian review September 11, 2011
 The Guardian review September 8, 2011
 The Telegraph review 9 September 2011
 Timeout

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 article
 The Independent article 11 September 2011

Smithsonian Archives of American Art
 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). Oral history interview with Sonia Allen, 1984 September 15; Rothko's sister

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


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<mask> (born September 3, 1969) is an American artist specializing in science fiction, fantasy and horror illustration. Biography
<mask> was born on September 3, 1969, in San Antonio, Texas. As of 2007, he still lives and works in San Antonio, together with his wife and daughter. He earned a Bachelor of Architecture degree from the University of Texas at Austin in 1992, and illustrated his first book – Behold the Man: The Thirtieth Anniversary Edition by Michael Moorcock (Mojo Press) – in 1996. In May, 2001 he ended his career in architecture to become a full-time illustrator. Work
He advocates his own method of gaining attention – sending physical samples to art directors of books and magazines – since:
"Even if an artist has a good website, it's a good idea to send out a physical reminder of their art so that art directors can keep it around." His early work featured in many annuals and art compendiums, including Spectrum: The Best in Contemporary Fantastic Art, as well as magazines such as Realms of Fantasy.<mask> has since produced design work and – particularly – cover art for many notable SF, fantasy and horror books printed by many different publishers, from some of the longest-established and largest American SF&F imprints (Random House/Ballantine Books/Del Rey; HarperCollins/Eos; Roc Books; Tor Books), to more recent, independent publishers (Golden Gryphon Press; MonkeyBrain Books; Night Shade Books; Tachyon Publications; Earthling Publication and iBooks). <mask> cites a "mutual respect" between himself and his art directors, who tend to give him "space to

masks:
John Picacio
Picacio
Picacio
Picacio


texts:
 create" his artwork, which he sees as part of an interaction with the reader, "communicating with a smart and sophisticated audience". He works particularly well with fellow-Texan Roberson (author and MonkeyBrain publisher), and the editorial director of Prometheus Books' science fiction imprint Pyr Lou Anders. He has provided covers for several of Roberson's solo efforts – from one of his earliest self-published titles, the 2002 Clockwork Storybook title Any Time at All to his 2007 X-Men novel – as well as providing dozens of covers for almost the entire output of MonkeyBrain Books. For Anders, <mask> has provided
covers for several anthologies from multiple companies since Wildside Press's 2001 Outside the Box. Awards and nominations
<mask>'s illustrations have been selected numerous times for Cathy and Arnie Fenner's prestigious Spectrum Annual, the yearly "Best in Contemporary Fantastic Art" showcase for fantasy and science fiction art, which both honours established artists and provides a resource for art directors and illustrators to refer to. In 2001 and 2006, he was awarded the International Horror Guild Award for Best Artist, and was Artist Guest of Honor at the 2003 ArmadilloCon.In 2005, he won both the World Fantasy Award for Best Artist and the Chesley Award for Best Paperback Cover (for James Tiptree Jr.'s Her Smoke Rose Up Forever). In 2006 he won the Chesley Award for Artistic Achievement and in 2007 the Locus Award for Best Artist. He has also received Hugo Award nominations for Best Professional Artist in 2005 though 2010, and won in 2012. He has

masks: Picacio Picacio


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 received 5 World Fantasy Award nominations since 2002. His work has also appeared on innumerous award-winning and nominated titles, including Jess Nevins's Encyclopedia of Fantastic Victoriana and the Chris Roberson-edited anthology Adventure Vol. 1, both from MonkeyBrain. In February 2008, <mask>'s was seen fully illustrating (and covering) Michael Moorcock's Elric The Stealer of Souls, as the first in a new series of trade paperback editions of Moorcock's Elric novels published by Ballantine/Del Rey.<mask>'s work in the first volume will be followed (in Elric To Rescue Tanelorn) by that of notable illustrator M. W. Kaluta, placing him in ever-more illustrious company. In 2014, <mask> was awarded the Inkpot Award. Bibliography

Notable covers
Dangerous Visions: 35th Anniversary Edition, by Harlan Ellison (ed.) (iBooks, 2002)
The Fantasy Writer's Assistant by Jeffrey Ford (Golden Gryphon, 2002) (Wraparound cover & preliminary sketch)
Live Without a Net by Lou Anders (ed.) (Roc, 2004)
Gateway by Frederik Pohl (Ballantine/Del Rey, 2004)
Wizardry & Wild Romance by Michael Moorcock (MonkeyBrain Books, 2004)
The Mammoth Book of New Terror by Stephen Jones (ed.) (Robinson/Carroll & Graf, 2004)
Her Smoke Rose up Forever by James Tiptree, Jr. (Tachyon, 2004)
Star of Gypsies by Robert Silverberg (Pyr, 2005)
Bumper Crop by Joe R. Lansdale (Golden Gryphon, 2005)
Ghosts of Columbia by L. E. Modesitt, Jr. (Tor Books, 2005)
The Cat’s Pajamas & Other Stories by James Morrow (Tachyon, 2005)
Adventure, Vol. 1, by Chris Roberson (ed.)(MonkeyBrain Books, 2005)
Red Planet by Robert A.

masks: Picacio Picacio Picacio


texts:
 Heinlein (Ballantine/Del Rey, 2006)
Macrolife by George Zebrowski (Pyr, 2006)
The Empire of Ice Cream by Jeffrey Ford (Golden Gryphon, 2006)
A Canticle for Leibowitz by Walter M. Miller, Jr. (HarperCollins/Eos, 2006)
H.P. Lovecraft's Book of the Supernatural by Stephen Jones (ed.) (Pegasus Books, 2006)
Fast Forward 1, by Lou Anders (ed.) (Pyr, 2007)
X-Men: The Return by Chris Roberson (Pocket Books, 2007)
The Metatemporal Detective by Michael Moorcock (Pyr, 2007)
Elric: The Stealer of Souls by Michael Moorcock (Ballantine/Del Rey, 2008)

Art collections
 Cover Story: The Art of <mask> (Introduction by Michael Moorcock) (MonkeyBrain Books, 2006)

References

External links

"On the Front", <mask>'s blog
MonkeyBrain Books published titles – most with Picacio covers
"Cover Story: The Art of <mask>" MonkeyBrain page
Golden Gryphon Books titles – several with Picacio covers, and sketch artwork
ArmadilloCon Biography

1969 births
American speculative fiction artists
Living people
People from San Antonio
Science fiction artists
Fantasy artists
Artists from Texas
World Fantasy Award-winning artists
Hugo Award-winning artists
Horror artists
American illustrators
Inkpot Award

masks:
John Picacio
Picacio
John Picacio


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<mask> (September 13, 1917 – April 3, 2013) was an American composer who is best remembered for his opera The Crucible (1961) after the 1953 play of the same name by Arthur Miller. He was awarded the Pulitzer Prize for Music for that opera in 1962. Early work and education
<mask> was born in Cleveland, Ohio, one of five children of the owner of a moving and storage company. He sang in church choirs and local opera theaters when he was a boy. His earliest extant compositions date to 1934, at a time he was attending John Adams High School, from which he graduated in 1935. After that, <mask> attended the Eastman School of Music in Rochester, New York, where his composition teachers were Bernard Rogers, Howard Hanson and Edward Royce. <mask> received a fellowship and attended the Juilliard School of Music in New York from 1939 to 1942, where he studied composition with Frederick Jacobi, orchestration with Bernard Wagenaar, and conducting with Albert Stoessel and Edgar Schenkman.In the summer of 1941 he studied under Aaron Copland at the Berkshire Music Center in Massachusetts. From his student days to the end of World War II, <mask> produced about forty compositions, of which eleven he later withdrew. Most of those early works are small scale, songs and pieces for piano or chamber ensembles. He completed his First Symphony in 1941, which won the Juilliard Publication Award the following year. Around that time, <mask> also wrote a number of reviews and other articles for the magazine Modern Music and served on the faculty of Queens College. In February 1942 <mask> joined the U.S. Army, and attended the Army Music School at Fort Myer, being assigned the military occupational specialty of band director. At Fort Riley, Kansas, he wrote a major part of the score

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Robert Eugene Ward
Ward
Ward
Ward
Ward
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Ward


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 to a musical revue called The Life of Riley.<mask> was assigned to the 7th Infantry and sent to the Pacific. For the 7th Infantry Band he wrote a March, and for its dance band he wrote at least two jazz compositions. During his military service <mask> met Mary Raymond Benedict, a Red Cross recreation worker. They married on June 19, 1944, and had five children; Melinda, Jonathon, Mark, Johanna and Tim. Major works
<mask> earned a Bronze Star for meritorious service in the Aleutian Islands. During his military service <mask> managed to compose two serious orchestral compositions, Adagio and Allegro, first performed in New York in 1944, and Jubilation: An Overture, which was written mostly on Okinawa, Japan, in 1945, and was premiered at Carnegie Hall by the National Orchestral Association the following spring. After being discharged from military service at the end of the war, <mask> returned to Juilliard, earning postgraduate certificate in 1946 and immediately joining the faculty, teaching there until 1956.He served as an Associate in Music at Columbia University from 1946 to 1948. <mask> wrote his Second Symphony, dedicated to his wife, in 1947, while living in Nyack, New York. It was premiered by the National Symphony Orchestra conducted by Hans Kindler. This symphony was quite popular for a few years, in part thanks to Eugene Ormandy playing it with the Philadelphia Orchestra several times and even taking it on tour to Carnegie Hall in New York and Constitution Hall in Washington, D.C.

Andrew Stiller, in his article on <mask> for The New Grove Dictionary of Music and Musicians, describes <mask>'s musical style as deriving "largely from Hindemith, but also shows the considerable influence of Gershwin". <mask> conducted the Doctors Orchestral

masks: Ward Ward Ward Ward Ward Ward Ward Ward Ward


texts: Society of New York from 1949 to 1955, wrote his Third Symphony and his First Sonata for Violin and Piano in 1950, the Sacred Songs for Pantheists in 1951, and was music director of the Third Street Music School Settlement from 1952 to 1955, and wrote the Euphony for Orchestra in 1954. He left Juilliard in 1956 to become Executive Vice-President of Galaxy Music Corporation and Managing Editor of High Gate Press in New York, positions he maintained until 1967. <mask> wrote his Fourth Symphony in 1958, the Prairie Overture in 1957, the cantata Earth Shall Be Fair and the Divertimento in 1960.<mask> wrote his first opera to a libretto by Bernard Stambler, He Who Gets Slapped, and it was premiered in 1956. His next opera, The Crucible, based on Arthur Miller's play, premiered in 1961, became <mask>'s best known work. For it <mask> received the 1962 Pulitzer Prize for Music. It is frequently produced around the world. After the success of The Crucible, <mask> received several commissions for ceremonial works, such as Hymn and Celebration in 1962, Music for a Celebration in 1963, Festive Ode in 1966, Fiesta Processional in 1966, and Music for a Great Occasion in 1970. During those years he also wrote the cantata, Sweet Freedom's Song, in 1965; the Fifth Symphony in 1976; a Piano Concerto in 1968, which was commissioned by the Powder River Foundation for the soloist Marjorie Mitchell; a Saxophone Concerto in 1984; and the operas The Lady from Colorado in 1964, Claudia Leqare in 1977, Abelard and Heloise in 1981, Minutes till Midnight in 1982, and Roman Fever in 1993 (based on the short story of the same name by Edith Wharton). He also wrote chamber music, such as the First String Quartet of 1966 and the Raleigh Divertimento of 1985.His work has been

masks: Ward Ward Ward Ward Ward


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 championed by such conductors as Igor Buketoff, who recorded the 3rd and 6th symphonies. Later work
In 1967, <mask> became Chancellor of the North Carolina School of the Arts in Winston-Salem. He held this post until 1975, when he stepped down to serve as a member of the composition faculty for five more years. In 1978 he came to Duke University as a visiting professor, and there he remained as Mary Duke Biddle Professor of Music from 1979 to 1987. His students included Michael Penny and Michael Ching. In the fall of 1987, he retired from Duke University as Professor Emeritus, and continued to live and compose in Durham, North Carolina. His most recent composition is "In Praise of Science," which premiered at the ribbon-cutting ceremony of Syracuse University's Life Science Complex on November 7, 2008.After a period of failing health, <mask> died in a Durham retirement home on April 3, 2013, at the age of 95. Selected works
<mask>'s music is largely published by Highgate Press, E.C. Schirmer, Associated Music Publishers, Peer International, Merrymount Music Press, C.F. Peters and Vireo Press. 1 (1941–1942) Winner of the Juilliard Publication Award, 1942
 Adagio and Allegro (1944)
 Jubilation, an Overture (1945); also for concert band
 Aria (1946) [withdrawn--reworked into Symphony No. 2]
 Symphony No. 2 (1947)
 Concert Music (1948)
 Serenade for Strings (1948) [withdrawn--reworked into Euphony, Night Music and Symphony No.4]
 Night Music (1949) [withdrawn]
 Symphony No. 3 (1950)
 Euphony for Orchestra (1954)
 Prairie Overture (1957); original version for concert band
 Symphony No. 4 (1958, rev. 1977)
 Divertimento for Orchestra (1960)
 Hymn and Celebration (1962, rev. 1966)
 Music for a Celebration (Trilogy for Orchestra) (1963) [Withdrawn as a

masks: Ward Ward Ward


texts:
 3-movement work. Movements published separately as listed below.] Processional March (1963) [originally movement 3 of Music for a Celebration.Later, also reworked into Symphony No. 5.] Invocation and Toccata (1966) [originally movements 1 & 2 of Music for a Celebration]
 Festive Ode (1966)
 Hymn to the Night (1966) (Tone poem based on Longfellow)
 Concertino for string orchestra (1973)
 The Promised Land (On Jordan's Stormy Banks), chorale prelude for orchestra (or organ), with optional congregational participation (1977)
 Sonic Structure (1980)
 Festival Triptych with opt. narrator (1986)
 By the Way of Memories, Nocturne for orchestra (1987)
 Symphony No. 6 (1988)
 5x5, Four Variations on a Five-Part Theme (1989)
A Western Set (1992) (Suite from Lady Kate)
 The Scarlet Letter Ballet Suite (1994)
 Symphony No. 7 (The Savannah) (2003)
 Beginnings, An Overture (2006)
 City of Oaks for orchestra (2007)

Concert band
 The Rolling Seventh march for band (1943); written during military service [withdrawn]
 Life of Riley, musical revue for swing band, men's chorus and soloists (1942); written during military service [withdrawn]
 Just As You Were for voice and swing band (1943); written during military service [withdrawn--tune reworked into mvt. 2 of the Concerto for Saxophone]
 Jubilation, an overture (1946); original version for orchestra; transcribed for band by <mask>ist
 Prairie Overture (1957); also for orchestra
 Night Fantasy  (1962)
 Fiesta Processional (1966)
 Music for a Great Occasion (1970) [withdrawn]
 Antiphony (1973)
 Four Abstractions (1977)
 Jagged Rhythms in Fast Tempo
 Color Masses and Luminous Lines in Dark Blue
 Curves and Points of Light in Motion
 Interweaving Lines

Concertante
 Concerto for piano and orchestra (1968)
 Concerto for


texts:
 tenor saxophone and orchestra (1984)
 Concerto for violin and orchestra (1993, revised 1994)
 Dialogues, a Triple Concerto for violin, cello, piano and orchestra (1986–2002)

Chamber music
String Quartet (1937) [withdrawn--movement 2 reworked into Andante and Scherzo]
Movement for String Quartet (1941) [withdrawn--reworked into Adagio and Allegro (1943)]
Energetically (1941) [withdrawn--reworked into Jubilation Overture (1945)]
 Sonata No.1 for violin and piano (1950)
 Arioso and Tarantelle for cello (or viola) and piano (1954)
 Fantasia for Brass Choir and Timpani (1956) for orchestral brass (3 trumpets, 4 horns, 3 trombones, tuba) and timpani
 String Quartet No. 1 (1966) [Movements 2 & 3 also reworked into the Concertino for Strings (1973)]
 Dialogues for Violin, Cello and Piano (or orchestra) (1987) (earlier, shorter chamber version of Triple Concerto)
 Raleigh Divertimento, woodwind quintet version (1986); Nonet version (2004)
 Fanfare for Durham, for orchestral brass brass, timpani and percussion (1988)
 Sonata No. 2 for violin and piano (1990)
 Appalachian Ditties and Dances for violin and piano (1991)
 Bath County Rhapsody, piano quintet (1991)
 Serenade for Mallarmé for flute, viola, cello and piano (1991)
 Echoes of America, trio for clarinet, cello and piano (1997)
 Night under the Big Sky, nocturne based on themes from Lady Kate for flute, oboe, clarinet, horn, bassoon, and piano (1998)
 Brass Ablaze for brass band (cornets, flugelhorns, horns, euphoniums and tubas) and percussion
 Quintet for oboe and string quartet (2005)

Keyboard
 Song for piano (1941) [originally one of two movements for piano, later reworked into Sonatine; Adagio and Allegro; Hymn and Celebration and String Quartet No. 1]
 Lamentation (1946) [published with Scherzo]


texts:
 Sonatine (1948) [withdrawn--mvt. 3 reworked into Divertimento]
 Scherzo (1950 [published with Lamentation]
 The Promised Land (On Jordan's Stormy Banks), chorale prelude for organ (or orchestra), with optional congregational participation (1977)
 Celebration of God in Nature, suite for organ (1979)

Vocal
 Three Songs for high voice and piano (1934); text by Thomas S. Jones, Jr.:  "I Know a quiet vale", "Daphne", "My soul is like a garden close" [withdrawn]
 Fatal Interview song cycle for soprano and orchestra (1937); text by Edna St. Vincent Millay
 What thing is this
 Not in a casket cool with pearls
 Epithalamion for high voice and piano (1937); text by Percy Blysse Shelley [withdrawn]
 New Hampshire for 6 women's voices and string quartet (1938); text by T.S. Eliot [withdrawn]
 First Harvest [title given to the group of five songs listed below, each originally written and published separately]
 Sorrow of Mydath for high voice and piano (1939); words by John Masefield
 As I Watched the Ploughman Ploughing for high voice and piano (1940); words by Walt Whitman
 Rain has fallen all the day for high voice and piano (1940); text by James Joyce [tune reworked into By the Way of Memories Nocturne]
 Anna Miranda for high voice and piano (1940); text by Stephen Vincent Benét
 Vanished for high voice and piano (1941); text by Emily Dickinson
 Jonathon and the Gingery Snare for narrator and orchestra (1949); words by Bernard Stambler [also reworked into Festival Triptych]
 Sacred Songs for Pantheists for soprano and orchestra (or piano) (1951); words by Gerard Manley Hopkins, James Stephens and Emily Dickinson
 Pied Beauty (Hopkins)
 Little Things (Stephens)
 Intoxication (Dickinson)
 Heaven-Haven (Hopkins)
 God's Grandeur (Hopkins)
 Three Pieces for Narrator


texts:
Jacob Steven "<mask>" <mask> (born March 28, 1985) is an American retired mixed martial artist and former United States Marine who was known for competing in the Ultimate Fighting Championship (UFC). A professional competitor since 2005, <mask> has formerly competed for the Quad Cities Silverbacks of the IFL,  Bodog Fight, and King of the Cage. Background

<mask> was born in Omaha, Nebraska. <mask>'s father was an iron worker, and <mask> has a twin brother named Joe who is also an MMA fighter. After starting his career with a 10–0 record, Joe was diagnosed with an extremely rare blood disease called Paroxysmal nocturnal hemoglobinuria when he was 24 years old. Some estimates suggest that roughly half of the people diagnosed with PNH die within 10 years of their diagnosis. Joe still cornered his brother's fights and is a huge inspiration for <mask>.Both <mask> and Joe were very athletic growing up; <mask> was on the swimming and diving team at Millard South High School while Joe wrestled and played football. By the time Joe was in his senior year, he had won a Nebraska state title. Joe went on to wrestle at the University of Nebraska-Kearney and became a two-time Division II All-American, finishing third in the country twice and was a three-time academic All-American. <mask> began training for MMA when he saw his friend fight for the welterweight title in the Victory Fighting Championships. He studied psychology at the University of Nebraska-Omaha for three years and was on the school's Division II wrestling team. Following the end of his own wrestling career and acting as assistant coach, <mask> helped his alma mater to win back to back National titles. <mask> is also a former Marine, having served as a heavy equipment mechanic (military occupational specialty 1341).Mixed martial arts career

International Fight League
<mask> suffered the first loss of

masks:
Jake
Ellenberger
Ellenberger
Jake Ellenberger
Jake
Jake
Jake
Jake
Jake
Jake
Jake
Jake Ellenberger
Ellenberger


texts:
 his career by unanimous decision to Jay Hieron in his IFL debut. In <mask>'s second IFL appearance, he defeated Ben Uker by TKO in the second round at IFL: Championship Final. <mask> filled in on short notice for an injured Rory Markham and represented Pat Miletich's Quad City Silverbacks at the 2007 Team Championship Final. He suffered his only submission loss to Brazilian jiu-jitsu black belt Delson Heleno. In his last fight for the promotion, <mask> dominated his opponent, Pat Healy over three rounds to win a unanimous decision at IFL: Las Vegas. BodogFight
At the event entitled Clash of the Nations, held in St. Petersburg, Russia, <mask> lost a unanimous decision to UFC veteran Derrick Noble. He then traveled to Costa Rica and defeated another UFC veteran, Zach Light, via TKO at Costa Rica Combat.In his last appearance with BodogFight, <mask> knocked out Jose Landi-Jons in just nine seconds. M-1 Challenge
<mask> represented the United States at M-1 Challenges in Japan and South Korea. In his first bout held in Japan, <mask> defeated Frenchman Farouk Lakebir by unanimous decision. In his next fight, held in Korea, <mask> defeated Doo Won Seo via TKO in round two. Bellator
<mask> won his fight against Marcelo Alfaya at Bellator 11 by knockout just 42 seconds into the first round. Ultimate Fighting Championship
<mask> stepped in on short notice for an injured Chris Lytle and lost a split decision in his promotional debut at UFC Fight Night 19 against Carlos Condit. <mask> rebounded by defeating Mike Pyle via second-round TKO on January 2, 2010, at UFC 108.<mask> was set to face Ben Saunders at UFC 111 in Newark, New Jersey as a replacement for the injured Martin Kampmann; however, once Jon Fitch's original opponent, Thiago Alves, was forced out due to a brain irregularity, Saunders requested and was granted a fight against Fitch instead. Due to the

masks: Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger


texts: last minute switch, <mask> was still paid win and show money. <mask> defeated John Howard via third-round TKO at UFC Live: Jones vs. Matyushenko. <mask> caused Howard's left eye to close after repeatedly landing short elbows and punches from the closed guard. <mask> was expected to face Jon Fitch on February 5, 2011, at UFC 126, but Fitch was pulled from the bout in favor with a matchup with BJ Penn at UFC 127. <mask> instead faced the then-undefeated Carlos Eduardo Rocha at UFC 126 and won the fight via split decision. <mask> faced Sean Pierson on April 30, 2011, at UFC 129, replacing an injured Brian Foster, and won the fight via first-round KO on 17 days notice.<mask> faced <mask> on September 17, 2011, at UFC Fight Night 25. He won the fight via TKO only 53 seconds into the first round. The finish earned him the Knockout of the Night honors. A bout between <mask> and Diego Sanchez was briefly linked to UFC 141. However, a lingering hand injury ended up keeping Sanchez out of action until February 2012. The <mask>/Sanchez bout took place on February 15, 2012, at UFC on Fuel TV 1 <mask> defeated Sanchez via unanimous decision, in a bout that earned both fighters Fight of the Night honors. <mask> lost to Martin Kampmann via second-round KO (knees) on June 1, 2012, at The Ultimate Fighter 15 Finale.<mask> was expected to face Josh Koscheck on September 1, 2012, at UFC 151. However, Koscheck pulled out of the bout citing a back injury and was replaced by returning UFC veteran Jay Hieron. Hieron gave <mask> his first loss six years earlier. After the UFC 151 event was cancelled, <mask>/Hieron took place on October 5, 2012, at UFC on FX 5. <mask> won the fight via unanimous decision (29-28, 29–28, 29–28). <mask> was expected to face Johny Hendricks on March 16, 2013, UFC 158. However, Hendricks was pulled from the Ellenberger bout in favor of a matchup

masks:
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Ellenberger
Ellenberger
Ellenberger
Ellenberger
Ellenberger
Ellenberger
Jake Shields
Ellenberger
Ellenberger
Ellenberger
Ellenberger
Ellenberger
Ellenberger
Ellenberger
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texts: with Carlos Condit at the event after Condit's original opponent Rory MacDonald, pulled out of the bout with an injury.<mask> instead faced returning veteran Nate Marquardt. <mask> defeated Marquardt via spectacular first-round knockout. The win also garnered him his second Knockout of the Night bonus. <mask> faced Rory MacDonald on July 27, 2013, at UFC on Fox 8. MacDonald was able to use his size and reach advantage to repeatedly land his jab, neutralizing the shorter <mask>, resulting in a unanimous decision victory. UFC president Dana White criticized the performance as "lackluster". <mask> was expected to face Tarec Saffiedine on January 4, 2014, at UFC Fight Night 34.However, in late November, <mask> pulled out of the bout citing a hamstring injury and was replaced by Hyun Gyu Lim. On April 9, 2014, <mask> revealed that he had signed an eight-fight contract with UFC with disclosed title clauses should he be a champion in the future. The bout with Saffiedine was rebooked for UFC 172. However, on March 28, 2014, Saffiedine pulled out of the fight with an undisclosed injury. <mask> instead faced Robbie Lawler at UFC 173 on May 24, 2014. He lost the fight via TKO in the third round due to a combination of a knee and punches. <mask> next faced Kelvin Gastelum on November 15, 2014, at UFC 180.He lost the fight via submission in the first round. <mask> faced Josh Koscheck on February 28, 2015, at UFC 184. <mask> won the fight via submission in the second round, his first submission victory in nine years. It also earned <mask> a Performance of the Night bonus. <mask> faced Stephen Thompson on July 12, 2015, at The Ultimate Fighter 21 Finale. He lost the fight via KO due to a spinning hook kick and punches in the first round. <mask> faced Tarec Saffiedine on January 30, 2016, at UFC on Fox 18.He lost the fight by unanimous decision. <mask> faced Matt

masks: Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger Ellenberger


texts:
 Brown on July 30, 2016, at UFC 201. He won the fight by TKO in the first round and also picked up a Performance of the Night bonus. <mask> faced Jorge Masvidal on December 3, 2016, at The Ultimate Fighter 24 Finale. He lost the fight by TKO in the first round after his foot became entangled in the fence, rendering him unable to defend himself from Masvidal's strikes. <mask> faced Mike Perry on April 22, 2017, at UFC Fight Night: Swanson vs. Lobov. He lost the fight via KO (elbow) in the second round.<mask> was expected to face Bryan Barberena on June 1, 2018, at UFC Fight Night 131. However, on March 23, 2018, Barberena pulled out due to injury. He will be replaced by Ben Saunders. <mask> lost by TKO after being dropped by knee to the body in the first round. The pairing with Barberena was rescheduled and took place on August 25, 2018, at UFC Fight Night 135. <mask> lost the fight by TKO in the first round and subsequently announced his retirement from Mixed Martial Arts. He was caught lying about having voted for Donald Trump in the presidential primaries at Super Tuesday that morning, yet the election for California was not held until June 7, 2016.However, multiple people who were previously featured on the segment claimed that the answers were taken out of context; others stated that they were playing along, knowing that it was a joke. See also
 List of male mixed martial artists

References

External links

1985 births
Living people
American male mixed martial artists
Mixed martial artists from Nebraska
Sportspeople from Omaha, Nebraska
Welterweight mixed martial artists
Mixed martial artists utilizing collegiate wrestling
Mixed martial artists utilizing Brazilian jiu-jitsu
People from Lake Forest, California
University of Nebraska Omaha alumni
United States Marines
Ultimate Fighting Championship male fighters
American practitioners of

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