Page 11 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

concrete the purpose of its varied quickness and stillness’. Mark
Rothko, ‘Twentieth Century Artists on Art’ (1996, p247) He later
abandoned the novel topics of contemporary art, making his goal
to relieve modern man’s spiritual emptiness. Returning to the

triptych (Despite its basis in religious symbolism, as discussed
earlier) in his Chapel Paintings, (Fig–6) consisting of a
monochrome triptych in soft brown on the central wall, and a
pair of triptychs on the left and right made of opaque black
rectangles. Between the triptychs are four individual paintings,
and one additional individual painting faces the central triptych
from the opposite wall. This is the conclusion of six years of
Rothko’s life and represents his gradually growing concern for Fig-.7.No.8 (Multiform) 1947
228X127. Oil on Canvas
the transcendent. For some, to witness these paintings is to Mark Rothko
submit one’s self to a spiritual experience. Rothko states, ‘I am not interested in
relationships of colour or form or anything else......I am interested only in expressing
the basic human emotions – tragedy, ecstasy, doom, and so on
and the fact that lots of people break down and cry when
confronted with my pictures shows that I communicate with
those basic human emotions. The people who weep before my
pictures are having the same religious experience I had when I
painted them’. Selden Rodman, ‘Conversations with artists’
(1957, p93-94). Having recently viewed two of Rothko’s
earlier paintings at IMMA, Dublin, ‘No 8 (multiform)’(Fig-7),
and ‘The green stripe’(Fig-8), similarly to viewing Turners
work directly, I can attest to this connection, energy or spirit
the emanates from these works.
Fig-.8. The green stripe 1955
170X141. Oil on Canvas
Mark Rothko It’s apparent that throughout history painters of several genres
whether associated with specific movements or with individual
vision, both figurative and abstract, both large and small scale acknowledged and
embraced the spiritual dimension to their creative endeavours. To these painters this
spiritual awareness, this openness to the divine inspiration, plays an integral and
indispensable component in the process and expression of their artistic vision.

Contemporary Context

It’s evident from my study that painters historically throughout the centuries were
aware of the spiritual influence within their work, but I was curious to assess as to
whether in contemporary practice other painters apart from myself had an awareness of
divine or spiritual influence as described earlier. In order to do this I asked four
contemporary painters whose work or practice I admired, to answer five questions
relating to this. The questions were phrased in such a way as to allow them the freedom
to express their viewpoint unhindered and to give them the opportunity to give a
considered response to the questions. The questionnaire was sent by email and all

11