Displaying items by tag: Mark Rothko

US judge Paul Gardephe is considering nearly two dozen motions of enormous consequence for the first trial in the $60m Knoedler Gallery forgery scandal scheduled to begin on 25 January. The motions concern what evidence the jury will hear, and so will help influence their verdict on whether the defendants—the gallery, its former director Ann Freedman, and its owner 8-31 Holdings—should pay the collectors Domenico and Eleanore De Sole up to $25.3m for selling the couple a fake Mark Rothko painting in 2004.

A century after his birth, on Jan. 24, 1915, Robert Motherwell occupies a middle rung on the reputation ladder of Abstract Expressionists. The names Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman, Clyfford Still and possibly others would now come sooner to many people’s minds on the topic.

But through the long arc and productive prime of his career, Motherwell was as important as anyone in shaping the transformative artistic mode of the mid-20th century.

Sotheby’s sold a yellow-and-blue Mark Rothko abstract from 1954 for $46.5 million on Tuesday. The following night, archrival Christie’s International hollered back by selling a rust-colored, rectangular version that Rothko painted four years later for $82 million.

Dealers said Christie’s Rothko, “No. 10,” was prized in part because its blurry brown and black hues famously matched the somber mood of the artist at that time in his career. It sold to a telephone bidder.

Some paintings act like object lessons in tracking the global migration of wealth, bouncing from one owner to the next in timely turns. Such was the case Tuesday when Sotheby’s sold a $46.5 million Mark Rothko abstract that previously belonged to U.S. banker Paul Mellon and later to French luxury executive François Pinault.

Rothko’s latest taker? An anonymous Asian collector who outbid two rivals to win the work.

On a sunny morning in late February, Yves Bouvier, a Swiss art dealer, flew into Nice and drove 20 miles along the French Riviera to Monaco to meet his top client, Russian billionaire Dmitry Rybolovlev. Bouvier had come to work out the final payment for Mark Rothko’s No. 6 (Violet, Green and Red), which Rybolovlev had agreed to buy for €140 million back in August. Bouvier, 51, entered the lobby of the cream-colored, belle époque mansion where Rybolovlev’s penthouse apartment overlooks Monte Carlo’s yacht-filled marina.

Assuming business as usual, Bouvier approached a man he thought was one of Rybolovlev’s bodyguards.

On May 1, New York City will celebrate two momentous occasions: the public opening of the new Whitney Museum building at 99 Gansevoort Street and the 84th birthday of the Empire State Building. The two institutions have partnered to create an LED light show featuring twelve iconic artworks interpreted by Emmy-nominated production designer Marc Brickman (who has previously worked with the likes of Pink Floyd and Bruce Springsteen).

Tributes to pieces by Georgia O'Keeffe, Edward Hopper, Andy Warhol, Peter Halley, Elizabeth Murray, Mark Rothko, Barbara Kruger and others, will last 30 minutes each, with the light show beginning at 8 p.m. on May 1 and ending at 2 a.m. the following day.

There's always a battle going on somewhere between Sotheby's and Christie's for some piece of the art cake. But to get a sense of the biggest confrontation on the calendar, London is the place to be next weekend when the two auction houses exhibit highlights from their forthcoming New York sales of Impressionist, Modern (Monet to late Picasso) and Contemporary art (Rothko to today).

The most significant exhibit without a doubt is Picasso's eye-popping "Les Femmes d'Alger," 1955, based on a painting by Delacroix, that has a whopping $US140 million ($183 million) estimate from Christie's.

Mark Rothko once said that his formula for a good painting included a dollop of hope – “10 percent to make the tragic concept more endurable.” When bidders gather on May 13 at Christie’s to do battle for the next big Rothko to come to auction – a blazing red and black work, “No. 36 (Black Stripe),” painted in 1958, a banner year for the artist – they will have to bring a lot more than hope.

The painting, being sold by the German collector Frieder Burda, who has given it pride of place in his museum in Baden-Baden for several years, is estimated to sell for $30 million to $50 million. But prime Rothkos have become so rare and sought-after that the competition is likely to be fierce. Rothko’s auction record was set at Christie’s in 2012, when “Orange, Red, Yellow,” another of his trademark horizontal color-slab paintings, from 1961, sold for almost $87 million.

Crystal Bridges Museum of American Art announces the opening of "Van Gogh to Rothko: Masterworks from the Albright-Knox Art Gallery," on view February 21 through June 1, 2015. The exhibition brings together 76 artworks by 73 influential artists from the late 19th century to the present, including Vincent van Gogh, Joán Miró, Jackson Pollock, Andy Warhol, and Mark Rothko. The works were selected from the collection of the Albright-Knox Art Gallery in Buffalo, New York, one of the finest collections of 20th century art in the country. General admission to the temporary exhibition is $10 and free to Members and youth under 18 years old.

“Crystal Bridges is one of only four venues to host the exhibition and we’re delighted to provide visitors a rare opportunity to share the gallery with some of the most prominent figures in art history. Albright-Knox is one of the oldest collecting institutions in the country—we’re grateful, as one of the youngest, to share these stunning works that helped shape the story of American art.” says Rod Bigelow, Crystal Bridges Executive Director.

The work done at the Harvard Art Museums’ Straus Center for Conservation and Technical Studies has been extra visible these past few months: The center’s pioneering technology was behind the museums’ recent Rothko exhibition, which used digital projections to recreate hues that had faded since the paintings were made.

Now, the center will have a new director: Narayan Khandekar. The senior conservation scientist in the Straus Center’s analytical laboratory since 2001, Khandekar replaces Henry Lie, who retired from the post at the end of last year.