Lavender and Mulberry - Mark Rothko
Archival giclée
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Description
A meditative 1959 colour field composition by Mark Rothko, featuring soft, layered tones of lavender, grey, and deep blue.
Mark Rothko, born Marcus Rothkowitz in Latvia, remains a central figure of the New York School. His work from the late 1950s reflects a shift toward more sombre, atmospheric palettes. Lavender and Mulberry, painted in 1959, demonstrates his mastery of the colour field technique. The composition consists of large, rectangular zones of colour that appear to hover within the frame. Rothko applied thin layers of oil paint, allowing the pigments to bleed into one another at the edges. This technique creates a soft, blurred transition between the central grey-lavender field and the darker, earthy borders.
The painting avoids representational imagery, focusing instead on the physical presence of colour and the interaction of light across the canvas surface. The deep, saturated band of blue at the base provides a grounding element against the expansive, muted upper section. Rothko intended for these works to be viewed at close range, allowing the viewer to be enveloped by the scale and the subtle variations in tone. The texture of the paint application is visible, showing the artist's hand in the layering process. By removing external references, Rothko directs attention to the emotional resonance of the colour relationships themselves.
This piece is representative of the artist's mature period, during which he moved away from the brighter hues of his earlier work toward a more meditative, restrained aesthetic. The balance of the composition relies on the precise proportions of the colour blocks. The edges are not sharp, but rather diffused, which contributes to the sense of depth and movement within the static frame. It is a study in restraint, where the interaction of a few carefully chosen tones creates a sense of space and atmosphere. The work invites quiet contemplation, relying on the viewer's own perception to complete the experience of the painting.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Lavender and Mulberry - Mark Rothko
Artist Biography
Mark Rothko
Rothko's artistic journey evolved from early figurative works to his signature style of large, luminous rectangles of colour. These weren't mere exercises in aesthetics; Rothko intended them to be immersive experiences. He meticulously controlled the lighting and viewing conditions of his exhibitions, wanting viewers to be enveloped by the canvases and to contemplate their own existence. Famously, Rothko was commissioned to create murals for the Four Seasons Restaurant in New York, but he ultimately withdrew from the project, feeling it was inappropriate for such a setting.
Tragically, Mark Rothko's life ended in suicide in 1970, but his legacy endures. His paintings continue to captivate and challenge audiences, prompting introspection and emotional responses. Rothko's works, such as "Orange, Red, Yellow", are not just paintings; they are invitations to contemplate the human condition. His art remains a powerful testament to the expressive potential of abstract form.
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