“It’s Light I’m After”: Rothko and Abstraction

written by Amelie gould

The work of American artist Mark Rothko has widely been regarded as some of the best in the world of abstract art. The massive canvases, often covered entirely with at least two different shades of color, are a play on the way we perceive art. When the light hits his painted works, the viewer experiences a completely different aspect of the painting. Housing 115 of his pieces, the 16th arrondissement’s Fondation Louis Vuitton brings together a cohesive timeline of the work of Rothko and his descent into abstraction. 

When the name of Mark Rothko is mentioned, many think of his classic massive canvases of color and light, yet upon entering the first room of the 10 that are part of the exhibit, the work of Rothko is almost unrecognizable. A more detailed, still-life, semi-realistic approach to painting is how his works began. From paintings of the New York City subway commuter life to portraits of a bespectacled man, this side of Rothko’s work is often overlooked. His more iconic and contemporary works encompassed the concept of art through light and its reflective properties.

Due to Rothko’s works created with the usage of light involved, the lighting of this exhibit plays a crucial role in the experience of the viewer and how the art is perceived. A quote by Rothko posted on the wall of the entrance into one of the rooms reads “I’m not interested in color. It’s light I’m after.” Each painting is placed under its own spotlight so that the viewer can be fully immersed in the pieces on display.

The journey through the exhibit is a journey through Rothko’s descent into abstraction and decision to play on light. As the exhibit progresses and the viewer moves through, the words of Rothko and his view on his own personal art and that of others alike are posted along the walls. We see these quotes, such as how “to us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.” In addition to his words, there are photographs of Rothko scattered along the path of the exhibit. A candid photo of a reclined Rothko reflecting on one of his abstract works is seen by visitors as they enter one of the galleries. Through this, we learn that Rothko’s works are not some to be quickly glanced at; his work is meant to be contemplated. The lines of his later and more abstract paintings, which are already rounded and blended, seem to dissolve almost entirely when displayed in a dim setting. The action of going to see a Rothko piece on display is an entirely different experience than seeing a photograph of one of his works. The colors—even if not entirely fitting together “aesthetically” speaking—mesh into one beautiful gradient under the proper lighting. Through his shift from an objective view on art to a subjective one was how he was able to create an entirely new viewing experience with these works.

One of the last rooms in the exhibition houses the work of Rothko alongside Swiss artist and sculptor Alberto Giacometti. This was an homage to the collaboration that was imagined by Rothko as a result of a UNESCO commission, but that never came to be. The black and gray canvases of Rothko’s work pair perfectly with Giacometti’s tall sculptures, emphasizing and encouraging a shift in the emotions of the viewer. The room feels somber and dreary, despite it being the most well-lit room in the exhibition space. It is not the lack of light that darkens the mood—it is the darkness of Rothko’s color palette in this collection of works that does so.

The Rothko exhibit was a beautiful exploration of color and light. There are few exhibits that have the power to capture the viewer in such a unique way, especially with such an abundance of pieces on display. It was amazing to see so many pieces of his all in one space, but at times they could have been spread out more. His pieces are meant to be contemplated and observed, it would have been interesting to have a room with one large painting being the only piece in it for the viewer to “experience” more deeply. In the end, however, the exhibit was a successful deep dive into the world of Rothko and his reliance on light and how it pairs with paint, shapes, and color.