Petit Palais presents “Théodore Rousseau: The voice of the forest”
From March 5 through July 7, 2024, the Petit Palais is presenting the first major exhibition devoted to the painter Théodore Rousseau (1812-1867), who made nature his religion his religion, his world and his refuge.
Source: Petit Palais · Image: Théodore Rousseau, “Groupe de chênes à Apremont”, 1850-1875, oil on canvas, Musée du Louvre, Paris
Rousseau can be considered a veritable proto-ecologist. Early in his career, he became the leader of the colony of artists who frequented the village of Barbizon and the forest of Fontainebleau. He spent long, solitary hours in the forest, sketching on the spot before producing his final works in his studio. His love of nature soon turned into a battle: together with other artists and writers, Rousseau took a new look at the forest of Fontainebleau, which led to the protection of part of it under the name of the famous “artistic reserves” (1853), a world first in the midst of industrialisation.
Both a romantic and a realist, Rousseau aspired to capture the harmony of the world, by mixing it with his soul. He blurred the boundaries between painting and drawing, between sketch and finished work. He experimented, adding matter, tirelessly retouching his canvases, going so far as to overload them to bring out the life of the forests. As Baudelaire wrote, he was a “naturalist constantly drawn towards the ideal”, and played a fundamental role in establishing a new French school of landscape painting in the mid-nineteenth century, paving the way for Impressionism.
Mark Rothko, originally Markus Yakovlevich Rothkowitz, born in 1903 in the Russian Empire, stands as a pioneering figure in abstract expressionism whose artistic legacy continues to captivate audiences worldwide. Emigrating to the United States with his family in 1913, Rothko faced early years marked by financial hardships and a search for artistic identity. Despite these challenges, he emerged as one of the foremost artists of his era, celebrated for his emotionally evocative color field paintings, some of which have fetched prices in the tens and even hundreds of millions of dollars.
One of the most notable sales in the art world occurred in 2014 when Russian billionaire Dmitry Rybolovlev purchased Rothko’s renowned 1951 masterpiece, “No. 6 (Violet, Green and Red),” from Swiss art dealer Yves Bouvier for a staggering $186 million. While this record-breaking sale brought significant media attention, it also entangled the artwork in the notorious Bouvier Affair, a scandal that reverberated throughout the art world shortly after.
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When Rybolovlev learned that, rather than simply acting as a dealer, Bouvier had actually bought the painting himself for approximately €80 million ($107 million) before selling it on to Rybolovlev for €140 million ($186 million), the Russian billionaire initiated legal proceedings, sparking what is now known as the Bouvier Affair. The painting’s involvement in this scandal sheds light on the murky world and high-stakes dealings within the art market. However, it must be acknowledged that this transaction not only elevated Rothko’s status as a leading artist but also set a record for the sale of his art that remains unbeaten to this day.
In fact, on February 29, 2024, CNBC reported that Christie’s sold “No. 6 (Violet, Green and Red)” for more than $100 million. At the moment it is unclear if the $186 million record has been surpassed, as the specifics regarding the artwork, buyer, and seller were shrouded in secrecy. Sources familiar with the transaction informed CNBC that the sold piece was, indeed, identified as Mark Rothko’s “No. 6 (Violet, Green and Red)” from 1951. During a CNBC interview, CEO Guillaume Cerutti disclosed Christie’s recent private sale of a painting in January, surpassing the $100 million mark, yet further details were withheld by the auction house.
“No. 6 (Violet, Green and Red)” by Mark Rothko
Those knowledgeable about the art world reiterated to CNBC that the artwork in question was Rothko’s renowned piece. The recent purchaser of the artwork is Kenneth Griffin, a hedge fund magnate and Citadel CEO, known for his penchant for high-value art acquisitions. However, Griffin refrained from offering comments through a spokesperson regarding the acquisition.
In the wake of these remarkable sales, “No. 6 (Violet, Green and Red)” emerges as a symbol of artistic ingenuity and emotional depth, captivating both collectors and enthusiasts with its captivating composition and profound resonance. Alongside works by esteemed artists such as Willem de Kooning, Rothko’s masterpiece is recognized as a quintessential representation of the abstract expressionist movement, which sought to redefine artistic expression in the aftermath of World War II.
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Central to “No. 6 (Violet, Green and Red)” is Rothko’s distinctive artistic vision, focused on the evocative potential of color to elicit deep emotions and provoke spiritual contemplation. Through his bold utilization of vibrant hues and monumental scale, Rothko invites viewers into a realm of indescribable beauty and transcendent fascination, where the boundaries between art and emotion converge seamlessly.
The painting’s composition appears straightforward yet undeniably compelling, featuring three imposing rectangles of color—a deep violet, a bright green, and a rich red. These luminous color fields, portrayed with thick, layered brushstrokes, emanate a dynamic energy that draws observers into its ethereal allure. The absence of distinct boundaries between the rectangles imparts a sense of fluidity and motion, as if the colors themselves are engaged in a celestial dance.
Despite the secretive nature of some of its sales, “No. 6 (Violet, Green and Red)” endures as an epitome of artistic excellence, evoking awe and appreciation from all who encounter it. Rothko’s transcendent masterpiece continues to serve as a guiding light in a constantly evolving world, reminding us of art’s enduring capacity to elevate the human spirit and illuminate the depths of our shared consciousness.
