Far Away From the Din (oil on canvas, 2018)

“A painting is not a picture of an experience, but is the experience.” – Mark Rothko

A few months ago, my daughter and I went to the Museum of Fine Arts in Boston, one of my favorite haunts when I lived in Massachusetts. I was particularly eager to see the Mark Rothko exhibition, as I haven’t had many opportunities to see his work in person.

I first encountered Rothko’s art when I was a senior in college, during a trip to the Museum of Modern Art in NY. I wasn’t familiar with his work when I walked into a gallery and was awestruck by a painting of white amorphous open-edged shapes surrounded by a light grey ground. As simple as it sounds, there was something sublime and spiritual about the image and as I gazed at it, I was moved to tears. I later learned that not only is this a common reaction by people to Rothko’s work, but one that he intended the viewer to have. I have read a great deal of his writings, as well as interviews with him, and have always felt an affinity with his ideas about painting, especially about art being a spiritual experience rather than a conveyance of information or mere decoration. This has always been an important aspect of my own work. The MFA Rothko exhibit began with paintings from the past that had influenced Rothko. Not surprisingly, the first painting was one of my favorite things, the small Rembrandt oil “The Artist in His Studio”, a painting steeped in the sublime.

Seeing the Rothko paintings reminded me of the importance of seeing original art in person. Modern technology enables us to see just about any work of art, no matter where the original is, in digital reproduction. When I’m teaching studio classes, I often mention the work of a specific artist that has relevance to something a student is doing and I’ve had other students immediately pull up images of that artist’s work on their phones – an extremely useful teaching aid in the classroom. Technology also allows artists like me to share our work all over the world. But there’s no substitute for having a direct experience in front of the art, to stand where the artist stood when they created it and have nothing but air and light between you and the materials that the artist used to bring their vision to fruition.

While in Boston that day, I made the mandatory foray to the big art supply store near Fenway Park where I found a new paint color: Manganese Violet. I was immediately smitten by this semi-transparent, warm violet (I’m partial to anything purple to begin with, anyway!) so I bought a big tube to add to my ever-expanding palette. The other colors welcomed it into the fold with open arms and it played a large role in this new painting.