Paper

Student Artwork Guide

No. 21

Name Class Date

Mark Rothko, No. 21 (1949), MOMA - Museum of Modern Art. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Mark Rothko artsdot.com/en/artists/mark-rothko/
Artist’s dates
1903 – 1970
Painted
1949
Medium
Oil On Canvas
Original size
203 x 100 cm
Movement
Color Field Painting Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything.
Period
Modern
Held at
MOMA - Museum of Modern Art artsdot.com/en/museums/moma-museum-of-modern-art-new-york-city/
Artistic style
Abstract Expressionism
Influences
Surrealism
Notable elements or techniques
Soft-focus squares
Subject or theme
Emotional Depth

In context

No. 21 — Mark Rothko

How big is it?

The original measures 203 × 100 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1900
  2. 1910
  3. 1920
  4. 1930
  5. 1940
  6. 1950
  7. 1960
  8. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Painted when the artist was 46. The artist lived to 67. 83 of the 168 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Mark Rothko (1903–1970) ▲ this work, 1949 every dated painting, decade by decade

First works: up to 1945 Main working years: 1945–1958 Late works: from 1958

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/mark-rothko-no-21-D2DNGZ-en/

Colours

Measured from the image

    Main colour

    Brown #983224

    Catalogued palette

    • #983224
    • #8D675B
    • #C8BBAA
    • #4C3831

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Brown
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Mark Rothko over the last twelve months — 46 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 32.6%
    2. 2 Italy 17.9%
    3. 3 United States of America 7.7%
    4. 4 Brazil 5.3%
    5. 5 France 4.7%
    6. 6 Germany 4.1%
    7. 7 Greece 3.7%
    8. 8 Netherlands 3.0%
    9. 9 Spain 2.2%
    10. 10 United Kingdom 1.8%
    11. · 36 other countries 17.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Mark Rothko

    1. 1 White Center, 1950 7.8%
    2. 2 No.61 (Rust and Blue), 1953 6.8%
    3. 3 No.1 3.3%
    4. 4 Red and Orange 3.2%
    5. 5 Orange and yellow, 1956 3.0%
    6. 6 Three 2.9%
    7. 7 AUTUMN 2.9%
    8. 8 No. 5 No. 22 2.5%
    9. 9 No. 13 (White, Red on Yellow), 1958 2.1%
    10. 10 Untitled, 1970 2.0%
    11. 11 Violet, Black, Orange, Yellow on White and Red, 1949 2.0%
    12. 12 Abstract painting 2.0%
    13. 13 Blue and gray, 1970 1.6%
    14. 14 Four Darks in Red, 1958 1.6%
    15. 15 Orange and Red on Red 1.6%
    16. 16 No.8, 1952 1.5%
    17. 17 Entrance to Subway (Subway Station.Subway Scene) 1.3%
    18. 18 Slow Swirl at the Edge of the Sea, 1944 1.2%
    19. 19 Untitled, 1964 1.2%
    20. 68 No. 21, 1949 this painting 0.2%

    Together these works take 50.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 460 works by this artist, of which 272 were looked at at least once. This painting ranks 68 of them, with 0.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    No. 21 — Mark Rothko

    A Window into Existential Depth: Examining Mark Rothko’s No. 21

    The painting “No. 21,” created in 1949 by Mark Rothko, stands as a cornerstone of Color Field abstraction and embodies the profound anxieties that fueled his artistic vision. More than just pigment on canvas, it represents a deliberate confrontation with fundamental questions about human existence—a legacy born from formative experiences rooted in Eastern European Jewish heritage and shaped by significant life transitions. This meticulously crafted piece invites contemplation and offers a glimpse into Rothko’s deeply personal exploration of grief, displacement, and the yearning for solace amidst uncertainty.

    Subject Matter: At first glance, “No. 21” presents deceptively simple rectangular blocks of color—deep crimson overlaid with muted indigo—creating an ethereal expanse that dominates the composition. The absence of recognizable imagery forces viewers to engage directly with emotion and intuition rather than relying on visual cues for interpretation.

    Style & Technique: Rothko’s method was revolutionary in its rejection of traditional representational art. He achieved his signature effect through a layering process known as “wet-on-wet,” applying thin washes of pigment onto previously applied layers, allowing them to bleed and merge subtly over time. This technique contributes to the painting's hazy luminescence and imbues it with an almost meditative quality.

    Historical Context: The Birth of Color Field Painting

    “No. 21” emerged during a period of intense artistic experimentation following World War II, coinciding with the rise of Color Field painting—a movement spearheaded by artists like Rothko and Barnett Newman. This stylistic shift responded to the disillusionment of postwar Europe and sought to express profound emotional states through pure color rather than narrative or figurative depiction. The influence of Zen Buddhism and Eastern philosophy is palpable in Rothko’s approach, reflecting his desire to transcend rational thought and access a realm of primal feeling. As noted in “Table No. 21,” the film's title itself underscores the importance of constitutional rights—a parallel to Rothko’s artistic pursuit of universal human values.

    Symbolism: The colors themselves are laden with symbolic significance. Crimson represents passion, vitality, and perhaps even primal instinct, while indigo embodies introspection, melancholy, and spiritual contemplation. Together, they create a harmonious tension that mirrors the complexities of human experience.

    Emotional Impact: Critics have consistently described “No. 21” as emotionally arresting—capable of eliciting feelings of awe, sorrow, and transcendence. Rothko aimed to bypass intellectual analysis altogether, trusting in the viewer’s subconscious mind to respond directly to the painting's visual presence.

    A Legacy of Quiet Intensity

    “No. 21” continues to resonate with audiences today due to its enduring ability to provoke contemplation and evoke visceral emotion. Its understated elegance—characterized by a masterful blend of color, texture, and compositional simplicity—solidifies Rothko’s position as one of the most influential artists of the 20th century. Reproductions of this iconic artwork offer an opportunity to experience firsthand the profound beauty and contemplative power of Color Field painting, transporting viewers into a realm where visual sensation transcends verbal description. Explore “No. 21” by Mark Rothko at The Metropolitan Museum of Art for an unforgettable artistic encounter.

    Artist and museum

    Artist

    Mark Rothko

    Born in Daugavpils, Latvia

    A Life Shaped by Displacement

    Mark Rothko arrived in the United States as a young boy, part of a family moving from Dvinsk, Latvia, to Portland, Oregon, in 1913. His early years were marked by the heavy atmosphere of the Pale of Settlement, where his family lived amidst political unrest and the fear of pogroms. This sense of instability followed him across the ocean. The loss of his father, Jacob, shortly after their arrival in America added a layer of personal grief to the challenges of settling in a new culture. While he studied at Yale University, the pull of New York City eventually led him to leave formal academics behind for the Art Students League.

    His upbringing was one of intellect and debate. His father, a pharmacist with socialist leanings, fostered a home where learning was central. This environment, combined with the hardships of the immigrant experience, created a deep sensitivity to human suffering. These early experiences of loss and the struggle to find a place in a chaotic world became the quiet foundation for everything he would later paint.

    From Figures to Fields of Color

    In his early years in New York, Rothko focused on realism, painting portraits and urban scenes with careful attention to detail. As the 1940s brought the horrors of World War II, his work began to shift. He moved away from recognizable objects, looking instead toward Surrealism and mythology to find a way to express universal human emotions. During this period, his canvases featured biomorphic shapes that seemed to float between being figures and being abstract forms.

    By the late 1940s, he had developed the style that would define his career. He stripped away all imagery, leaving only large-scale canvases with rectangular blocks of color. These forms appeared to hover and resonate against one another. He used thin washes of paint to create subtle changes in tone and texture, making the edges of his shapes appear blurred. He often avoided titles, using simple numbers like No. 1 or No. 6 so that viewers could face the work without any preconceived ideas.

    The Search for Emotional Truth

    Rothko’s mature period is associated with Color Field painting. His goal was to use color to speak directly to the human soul, bypassing the intellect to reach deep emotions such as tragedy, ecstasy, and despair. He meticulously layered paint to create a sense of depth and light that seemed to come from within the canvas itself. These large works were intended to envelop the viewer in an immersive experience.

    His commitment to this emotional honesty led to several significant projects:

    The Seagram Murals, which he originally intended for a New York restaurant but later donated to the Tate Gallery after feeling the setting would compromise the work.

    The Rothko Chapel in Houston, Texas, a non-denominational space containing fourteen of his paintings in varying shades of black, designed as a place for quiet reflection.

    The Harvard Mural series, which were donated to a dining room at the Holyoke Center.

    Despite his immense influence on Abstract Expressionism and the later Minimalist movement, Rothko struggled with depression throughout his life. He died by suicide in 1970. His work remains a central part of modern art history, found in permanent collections such as the Museum of Modern Art in New York and the Tate Modern in London.

    Museum

    MOMA - Museum of Modern Art

    On show in New York City, United States of America

    A Sanctuary of Modernity: Exploring the Soul of MoMA

    Nestled within the vibrant pulse of Midtown Manhattan, the Museum of Modern Art (MoMA) stands as far more than a mere repository for artistic treasures; it’s a living testament to the relentless spirit of innovation and the enduring power of human expression. Established in 1929 by visionary philanthropists, MoMA emerged from the shadows of the Great Depression not merely as an institution, but as a defiant declaration: a dedicated space consecrated solely to embracing the radical, the challenging, and profoundly influential works destined to shape the future of art. From its humble beginnings within the Heckscher Building, it has blossomed into an architectural marvel and a globally recognized landmark, inviting visitors on a profound journey through over a century of artistic evolution – a continuous narrative woven from groundbreaking movements and individual genius.

    A Tapestry of Artistic Innovation

    At the heart of MoMA’s breathtaking collection lies a carefully curated panorama spanning the late 19th century to the present day. Iconic works resonate across generations, each piece a window into a specific moment in art history. Vincent van Gogh's Starry Night, with its turbulent brushstrokes and swirling vortex of emotion, embodies the raw intensity of Expressionism. The canvas seems to breathe, capturing not just a night sky but the artist’s profound inner turmoil. Pablo Picasso’s Les Demoiselles d’Avignon shattered artistic conventions, laying the foundation for Cubism and forever altering our perception of representation. Its fragmented forms and jarring perspectives challenged traditional notions of beauty and perspective, ushering in an era of unprecedented experimentation. And Andy Warhol’s iconic silkscreen prints – particularly Campbell Soup Cans – capture the electric energy of postwar America with their bold colors and playful engagement with popular culture. These seemingly mundane objects, elevated to the realm of art, became symbols of consumerism and mass production, reflecting a rapidly changing society.

    Beyond these monumental figures, MoMA boasts an astonishing breadth: from the delicate brushstrokes of early Impressionists like Monet, whose Water Lilies evoke a serene contemplation of nature, to the abstract explorations of Kandinsky, who pioneered non-representational art; the pioneering photography of Alfred Stieglitz, documenting the dawn of modern photography; and the architectural designs that have shaped our world. Each gallery unfolds as a new chapter in this ongoing story, revealing the diverse voices and perspectives that have defined modern artistic expression.

    A Space Designed for Contemplation

    The transformation of MoMA in 2004, spearheaded by Japanese architect Yoshio Taniguchi, was more than just a renovation; it was a reimagining of the museum’s very soul. Taniguchi's design prioritized natural light, creating an atmosphere of luminous serenity that profoundly enhances the impact of the artwork. The atrium, bathed in sunlight streaming through expansive windows, serves as a central gathering area – a space designed for quiet contemplation and a deeper engagement with the art on display. This deliberate architectural choice reflects MoMA’s commitment to fostering a holistic experience, recognizing that the environment itself can contribute significantly to our understanding and appreciation of artistic expression. The careful consideration given to light, space, and flow creates an immersive setting where visitors are invited to lose themselves in the world of modern art.

    Shaping Art Historical Narratives Through Landmark Exhibitions

    MoMA’s legacy extends far beyond its permanent collection; it has consistently been a catalyst for groundbreaking exhibitions that have fundamentally reshaped public perception and redefined art historical narratives. Alfred H. Barr Jr.’s “Cubism and Abstract Art” (1936) stands as a watershed moment, introducing audiences to Picasso, Braque, Kandinsky, and Mondrian – artists who dared to transcend representational limitations and explore uncharted territories of expression. This exhibition wasn’t simply an exposition; it was a bold assertion that art could move beyond mere imitation and delve into the realm of pure feeling and form. Later exhibitions have continued this legacy, tackling contemporary issues with remarkable insight and fostering critical dialogue about our world – from explorations of Surrealism to the rise of Pop Art and Minimalism. The museum’s curatorial team has consistently demonstrated a willingness to challenge conventional wisdom and present new perspectives on art history.

    A Museum for Our Time

    Today, MoMA remains deeply engaged with pressing social issues through exhibitions that address climate change, identity, and justice. It champions artistic innovation and fosters dialogue globally, recognizing the vital role of art in shaping a more equitable and sustainable future. The museum’s commitment to inclusivity is evident not only in its collection but also in its programming, which actively seeks to amplify diverse voices and perspectives. Furthermore, MoMA's dedication extends beyond the purely aesthetic; it embraces a responsibility to engage with the complexities of our time, using art as a tool for critical reflection and social change. The museum’s ongoing efforts to connect with contemporary concerns underscore its role as a vital cultural institution in the 21st century.

    Where to read more

    Find this online

    QR code linking to the download page for No. 21

    artsdot.com/en/art/download/mark-rothko-no-21-D2DNGZ-en/

    Cite this artwork

    MLA
    Rothko, Mark. No. 21. 1949, MOMA - Museum of Modern Art. https://artsdot.com/en/art/mark-rothko-no-21-D2DNGZ-en/
    APA
    Rothko, Mark (1949). No. 21 [Painting]. MOMA - Museum of Modern Art. https://artsdot.com/en/art/mark-rothko-no-21-D2DNGZ-en/
    Chicago
    Mark Rothko. No. 21. 1949. MOMA - Museum of Modern Art. https://artsdot.com/en/art/mark-rothko-no-21-D2DNGZ-en/
    Harvard
    Rothko, Mark (1949) No. 21. MOMA - Museum of Modern Art. Available at: https://artsdot.com/en/art/mark-rothko-no-21-D2DNGZ-en/

    Look closely

    No. 21 — Mark Rothko

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: abstraction, color theory, emotion. Do you agree? What would you add, or take away?
    4. Look back at White Center (1950), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Color Field Painting: Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    No. 21 — Mark Rothko

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Mark Rothko primarily associated with?

      • A Cubism
      • B Surrealism
      • C Color Field Painting
    2. 2. In what year was 'No. 21' created?

      • A 1920
      • B 1949
      • C 1965
    3. 3. What is the dominant color palette employed in this painting?

      • A Yellow and Green
      • B Red and Yellow
      • C Red and Blue
    4. 4. The image shows the artwork displayed in a museum. What does this framing contribute to our understanding of the piece?

      • A It obscures details of the painting.
      • B It enhances its visual impact and depth.
      • C It minimizes the importance of the artist's name.
    5. 5. Rothko’s early life experiences influenced his artistic vision. What was a significant factor shaping his formative years?

      • A His fascination with classical sculpture.
      • B The prevalence of Impressionist landscapes.
      • C The anxieties surrounding Jewish identity and antisemitism.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3C · 4B · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is there a slideshow for "No. 21" by Mark Rothko?

    The diaporama of "No. 21" can be watched on the artwork's Diaporama page.

    Does the copyright of "No. 21" by Mark Rothko allow reproductions?

    The copyright status of "No. 21" by Mark Rothko is clear: the work is still protected by copyright. Its presence at the MOMA - Museum of Modern Art does not change that status.

    Which palette and lead color define "No. 21"?

    "No. 21" is defined by a dark palette led by brown (#983224).