Mark Rothko: A Biography

While written about thirty years ago, this biography of Mark Rothko by James E. B. Breslin stands up quite nicely. It does end sharply with the painter's death, so you need to go elsewhere for a complete understanding of the messy litigation surrounding his estate.I read this book due to my interest in learning more about the personal relationship between Rothko and Clyfford Still. Here I was rewarded with much good information on the interactions of these two great artists.For those seeking more on Rothko, I highly recommend his son Christopher's book-- "Mark Rothko: From the Inside Out" published in 2015.

No book can do Mark Rothko justice. He painted on largecanvases. To know him is to confront his original workon the wall before you. Find your distance, 10, 15,maybe 30 feet back. Yet to make sense of hiscolored rectangles tearing themselves apart in fission,as well as his earlier, quite different work, somebackground helps.Breslin's book will become the standard reference, butnot perhaps the starting point. He writes engrossingly,but the 558 pages of text, I fear, will discourage thecasual reader (who might do well to read RobertHughes's paragraphs in American Visions).Still, for the motivated reader, James Breslin's bio isawesome. The Latvian Jew, charity student atantisemitic Yale in the early 20s, uncomfortable andsmarter than most there, comes alive, as does his lovefor children and their art, as well as his tormentedfirst marriage to a wife commercially successful duringthe Great Depression making jewelry that sold. Rothkohad higher ambitions: fine art spelled with a capital"A". As Breslin relates, discomfort never disappeared.Success and recognition did not go over well withthis self-described anarchist who, as a Portlandteenager, enthusiastically took in lectures by EmmaGoldman. Overall, Breslin provides a biographical andhistorical foundation with which to understand MarkRothko's painting. I am grateful for that.Finally, of the many biographies I've read, James EBBreslin's stands out for another reason: in hisAfterword, he turns from Rothko to himself andaddresses his own motivations and challenges in writingthe biography. Biographies are never "objective", so itmakes sense that a biographer might address his ownmotivations. In the descriptions of the dangers ofdoing research in Rothko's birthplace of Dvinsk, ininterviewing art historian Clement Greenberg, Rothkoreappears again, this time indirectly, one stepremoved. That Breslin can bring Rothko alive in thesedifferent contexts is testament to the enduring valueof this long, challenging biography.

The book was in outstanding shape and arrived in short order - a great experience.

This bio is long and plodding with too much agonizingly detailed information about Rothko's early life, his parents' lives, his wives, etc., etc.and long, minute examinations and descriptions of early paintings.HOWEVER, along about 200 pages, it begins to redeem itself and TURNS INTO 4 or 4 1/2 STARS. (I first rated it at 3 but changed my mind although I couldn't change the stars.) It portrays Rothko in enough detail that you get a sense of him as a person and an artist, and it raises some interesting questions; not only questions that Rothko faced, but questions that all artists face. For example, the question of meaning in art, is art basically decoration for rich people, should an artist continue to make art when it becomes just another commodity for investment, should a collector love the individual painting or should you sell him a painting just so he has a "Rothko" (or a Natale)? Should an artist make statements explaining what the work is about or just let it stand (or fall) on its own? How much does an artist owe her/his gallerist or collectors in terms of loyalty? Should an artist explore various formats or just keep repeating something that works?Breslin has obviously devoted himself to a tremendously in-depth study of Rothko and treasures every detail about him. I have to respect that, but I also want to get another perspective (although Breslin quotes a lot of Rothko's intimates) and so I'm reading another bio by Dore Ashton.

I’m not saying that this book isn’t a slog. But anything resembling psychobabble in it is backed up with evidence, which I appreciate. There are anecdotes galore regarding his relationships with his family, friends, and other artists — including excellent analyses of what led to his two broken marriages and his suicide. I may end up reading his son’s book to see this elusive painter from another angle.

This a monster of book, for Mark Rothko, and for the artistic and commercial dramas that played out in the 30s, 40s, 50s, and 60s. You get a front row seat to Rothkos serpentine path through these decades. Rothko was dead serious about his work, and for all those yahoos who say they could done the same or done better, this book will straighten you out. We all are a product of our times. Mark got one of the golden rings, see if you can get one.

Moving, detailed, troubling. A well-written, sympathetic, comprehensive look at a major figure in American art. You will never look at Rothko's paintings in the same way again.

at times a dense read, this provides detail about rothko's life starting from his family's origins. once you wade through to the art, this book is a extremely interesting story about an extremely interesting man.

Exhaustive and in depth look at Rothko and his work. Recommended.

All the respect for the author but this is not for me.

as expected, mint condition

Book as described. Prompt service. Many thanks.

Magnificent. Scholarly and readable. A joy from start to finish.