During a career that spanned five decades, Rothko created a new and impassioned form of abstract painting.
One of the preeminent artists of his generation, Mark Rothko is closely identified with the New York school, a circle of painters that emerged during the 1940s as a new collective voice in American art.
Rothko's work is characterized by rigorous attention to formal elements such as color, shape, balance, depth, composition, and scale; yet, he refused to consider his paintings solely in these terms. He explained: "It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing."
By 1949 Rothko had introduced a compositional format that he would continue to develop throughout his career. Composed of several vertically aligned rectangular forms set within a colored field, Rothko's "image" lent itself to a remarkable diversity of appearances.
In these works, large scale, open structure, and thin layers of color combine to convey the impression of a shallow pictorial space. Color, for which Rothko's work is perhaps most celebrated, here attains an unprecedented luminosity.
His classic paintings of the 1950s are characterized by expanding dimensions and an increasingly simplified use of form, brilliant hues, and broad, thin washes of color. In his large, floating rectangles of color, which seem to engulf the spectator, he explored with a rare mastery of nuance the expressive potential of color contrasts and modulations.
Alternately radiant and dark, Rothko's art is distinguished by a rare degree of sustained concentration on pure pictorial properties such as color, surface, proportion, and scale, accompanied by the conviction that those elements could disclose the presence of a high philosophical truth. Visual elements such as luminosity, darkness, broad space, and the contrast of colors have been linked, by the artist himself as well as other commentators, to profound themes such as tragedy, ecstasy, and the sublime. Rothko, however, generally avoided explaining the content of his work, believing that the abstract image could directly represent the fundamental nature of "human drama."