FINDING ROTHKOWITZ: THE JEWISH ROTHKO

While Mark Rothko's canvases are renowned for their rich, monumental expanses of colour, he has insisted that his paintings should be appreciated on more than an aesthetic level. “The people who weep before my pictures,” he commented in 1956, “are having the same religious experience I had when I painted them.” While various critics and scholars have recognized the importance of this remark, just what Rothko meant by “religious experience” has been highly contested. In this article I will argue that Rothko's Jewish identity—informed by his experiences in Russia and New York—influenced his understanding of “religious experience” in subtle but powerful ways. I will not attempt to spot a raft of Jewish symbols and references in Rothko's work, an endeavour that has yielded spurious results in previous studies. Instead, I will examine Rothko's sense of “religious experience” as an evolving concept in his thought and painting; a process which finds its culmination in the Rothko Chapel, a space informed but not defined by the artist's Jewishness.