Sophia Dekel Caspi’s essay explores the significance of architectural space in Mark Rothko’s later works, particularly the Houston Chapel. Rothko’s later art reflects his exploration of existential themes, including the ephemeral and the eternal. The architectural element, prominent in his early pre-abstract paintings, re-emerges in a new dimension in his later works. Rothko’s journey from his roots as a Russian Jew to becoming a key figure in the New York School influenced his artistic evolution. His early association with prominent artists and exposure to European abstract and surreal art significantly shaped his style. The essay explores Rothko’s development of the architectural motif, tracing it from his early works, such as “Interior” (1932) and “Untitled” (1936), which reflect his interest in theatrical-architectural spaces and the interplay between figures and urban settings.
published at Assaph 2002
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