#279 Musings Beyond the Bunker (Saturday February 19)
musingsbeyondthebunker.substack.com
Good morning and happy weekend, At the risk of throwing a curveball, let’s start with art: MARK ROTHKO Mark Rothko is a seminal abstract artist and one which carries special attraction to the Sonnenbergs. Whenever we are in a new city, we have always found our way to a modern art museum and when we are at that museum, we always are in search of a Rothko or two. While Rothko was a Brad favorite, he also is a family favorite. Part of what makes each Rothko so engrossing and approachable is its seeming simplicity and its immersiveness. Each draws the viewer in, demanding the viewer’s complete attention. It was from Brad that we learned that Rothko wanted his large works to fill the viewer’s entire field of view, encouraging viewers to stand back from the painting at different intervals, as close as 18 inches away—in order to be enveloped by his broad color fields. From this point, with their hands around their eyes like blinders, viewers enter into and experience the work without distraction. And if one looks long enough the colors begin to move backward and forward, as the colors blend and separate.
#279 Musings Beyond the Bunker (Saturday February 19)
#279 Musings Beyond the Bunker (Saturday…
#279 Musings Beyond the Bunker (Saturday February 19)
Good morning and happy weekend, At the risk of throwing a curveball, let’s start with art: MARK ROTHKO Mark Rothko is a seminal abstract artist and one which carries special attraction to the Sonnenbergs. Whenever we are in a new city, we have always found our way to a modern art museum and when we are at that museum, we always are in search of a Rothko or two. While Rothko was a Brad favorite, he also is a family favorite. Part of what makes each Rothko so engrossing and approachable is its seeming simplicity and its immersiveness. Each draws the viewer in, demanding the viewer’s complete attention. It was from Brad that we learned that Rothko wanted his large works to fill the viewer’s entire field of view, encouraging viewers to stand back from the painting at different intervals, as close as 18 inches away—in order to be enveloped by his broad color fields. From this point, with their hands around their eyes like blinders, viewers enter into and experience the work without distraction. And if one looks long enough the colors begin to move backward and forward, as the colors blend and separate.