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Ca. 1953 Amazing to recall, now that he is as permanently enshrined in the pantheon of artist-deities as Matisse or Mondrian, but Rothko, back in the early ’50s, was a…

“ROTHKO IS A WATERCOLORIST.” The typewritten note in Clyfford Still’s unpublished diary, undated but recorded no earlier than 1961, appears as if graven into a largely blank page.1 It is clearly meant as a condemnation: Still had long come to despise his former close friend. No explanation follows, and the painter doubtless believed none was necessary. What other epithet, after all, could more concisely telegraph all that separated them—Still, with his vigorous, knife-sculpted impasto and flame-like forms, and Rothko, with his translucent layers and liquid shapes? 

The curators of a blockbuster exhibition at the Fondation Louis Vuitton counter the misinterpretation of Mark Rothko's later works.

The Louis Vuitton Foundation has opened a major retrospective that pays attention to aspects that have been little explored in the painter’s work

With Mark Rothko at Fondation Louis Vuitton, viewers are treated to a reverie of color, emotion and history as the artist's vibrant canvases take center stage. This major retrospective, the first of its kind in France since 1999, offers a deep dive into the life and oeuvre of this pivotal figure in abstract expressionism—and features…