Abstraction c. 1944 - 1945

Editor: This is Mark Rothko’s "Abstraction," a watercolor and drawing from around 1944 or 1945. I am immediately struck by the layering and how the colors blend; they’re muted and calming. What do you see in this piece from a formal perspective? Curator: What immediately stands out is the composition—how Rothko employs a horizontal structure against which he arranges a series of abstract forms. Note the interplay of geometric and biomorphic shapes. How do these formal elements affect your interpretation of the piece? Editor: Well, I see that the circular forms, for example, almost look like eyes staring back at me, especially the one on the right with those spiky marks coming out of it. Curator: Precisely. Rothko’s strategic deployment of form evokes semiotic richness. What impact does the contrast between the opacity and transparency of the watercolor layers have on your understanding? Editor: I guess it adds to that sense of depth, like I’m peering into different layers of reality, and maybe that makes me consider the different elements like those little squiggles and lines within the frame as signifiers too? Curator: Exactly! Notice too the deliberate use of line – bold in some areas, almost evanescent in others. Consider how this textural variation might direct the viewer's gaze, influencing perception. It is the formal arrangement of these elements, rather than any representational content, that communicates. Editor: So, it's less about what it means and more about how those elements, those marks on the paper make me feel, how they all work together visually, that makes the art, the painting, powerful? Curator: Indeed, the inherent qualities – line, color, composition – produce meaning within themselves. A useful framework for approaching Rothko’s abstractions. Editor: This really changed my initial reaction. I see it now, understanding how the formal elements work gives the whole piece a more intricate presence than before.