Not exact matches
Mark Rothko's No 1 (1957) at Helly Nahmad Gallery With a
rectangle of marmoreal white floating
against a blood -
red background, this smallish powerhouse of a Rothko can not be ignored.
It consists of a black
rectangle (the door)
against an orangey
red field (the wall) with little pink
rectangles for stepping stones and yellow bands at the top and bottom of the picture to denote the sky and ground.
Whilst Bowling achieves an «all - over» anti-composition, by contrast C. Morey de Morand «s masking tape
rectangles in There is Always More (1978) are deliberately placed in four colour groups
against a shifting
red ground.