Rothko and the Modern Art Swindle

“ROTHKO’s skill in rendering the human form was poor, which is evident in early works like Bathers or Beach Scene (Untitled) (1933/4). [Author Simon] Schama admits as much, noting that: “When he [Rothko] stood in the Brooklyn [Jewish Center] classroom [where he taught art classes from 1929–46] it all seemed so easy. He would tell the children not to mind the rules — painting, he said, was as natural as singing. It should be like music but when he tried it came out as a croak. It’s the work of a painfully knotted imagination. No not very good.”According to the general consensus, Rothko “never stood out as a great draughtsman and could even at times appear clumsy in the execution of his oil paintings.”
“Rothko, in a speech in the mid-thirties, offered a quasi-philosophical rationale for the unimportance of technical skill, stressing “the difference between sheer skill, and skill that is linked to spirit, expressiveness and personality.” He insisted that artistic expression was “unrelated to manual ability or painterly technique, that it is drawn from an inborn feeling for form; the ideal lies in the spontaneity, simplicity and directness of children.” Such grandiloquent pronouncements from Rothko were not unusual, with Collings noting that “Rothko was outrageously over-fruity and grandiose in his statements about art and religion and the solemn importance of his own art.”
“This tendency on his part prompted one writer to declare: “What I find amazing … is how a painting which is two rectangles of different colors can somehow prompt thousands upon thousands of words on the human condition, Marxist dialectics, and social construction.” He suggests a good rule of thumb is “the more obtuse terms an artist and his supporters use to describe a work, the less worth the painting has. By this definition Rothko may be the most worthless artist in the history of humanity.”
— Brenton Sanderson, “Rothko, Abstract Expressionism and the Decline of Western Art,” 2020 (more…)


