Bryan Markovitz
Vitæ Story Press
Research Design Theatre Art & Performance
Projects Research Design Theatre Art & Performance VitæStoryPress
Bryan Markovitz
Holyoke Center, Harvard University, ca 1962
Holyoke Center, Harvard University, ca 1962

Holyoke Center, Harvard University, ca 1962

Holyoke Center, Harvard University, ca 1962

Holyoke Center, Harvard University, ca 1962

Detail of human-scale emphasis on pattern, horizontality, and setback from street.

Rothko with Fogg Museum conservators

Rothko with Fogg Museum conservators

Photos taken during the initial test installation, February 1963. This photo is often noted to show that Rothko "admired the view".

Mark Rothko and Fogg Art Museum Director John Coolidge

Mark Rothko and Fogg Art Museum Director John Coolidge

Mark Rothko and Josep Lluís Sert in the Holyoke Center penthouse

Mark Rothko and Josep Lluís Sert in the Holyoke Center penthouse

Sert was the architect of the Holyoke Center and Director of Harvard's Graduate School of Design.

Fogg Conservators stretching the mural canvases onto frames

Fogg Conservators stretching the mural canvases onto frames

Students assisting with the hanging of Panel 1

Students assisting with the hanging of Panel 1

Panel 5 in place near the skylight window

Panel 5 in place near the skylight window

This painting suffered the greatest exposure to sunlight, and its original pinkish hue has faded to blue-gray.

Initial hanging of the triptych

Initial hanging of the triptych

The triptych in the Holyoke Center penthouse dining room

The triptych in the Holyoke Center penthouse dining room

Mark Rothko in his New York studio

Mark Rothko in his New York studio

Note the high ceilings, windows, and movable walls for spatial experiments.

Rothko moving a canvas for reconfigutation

Rothko moving a canvas for reconfigutation

Rothko in his studio

Rothko in his studio

A table full of pigments, binding mediums, and hand-mixed paints.

Rothko contemplating a painting

Rothko contemplating a painting

Much of his studio time was spent in observation of the painting's visual (and visceral) effects.

The "restored" Harvard Murals at the Harvard Art Museums, 2014

The "restored" Harvard Murals at the Harvard Art Museums, 2014

View of the triptych.

The "restored" Harvard Murals at the Harvard Art Museums

The "restored" Harvard Murals at the Harvard Art Museums

View of panels 4 and 5. Note the mustard-yellow walls, and the careful combination of ambient light (created with theatrical instruments) and light from the projectors seen overhead.

Michaelangelo's Laurentien Library (vestibule)

Michaelangelo's Laurentien Library (vestibule)

Rothko claimed that these "blank" windows influenced his mural projects.

Panel 5 in its "restored" colors

Panel 5 in its "restored" colors

Panel 5 with the projection turned off

Panel 5 with the projection turned off

View of the triptych with the projections turned off

View of the triptych with the projections turned off

Another view of the triptych with the projections turned off

Another view of the triptych with the projections turned off

Detail showing tacking margin with original paint

Detail showing tacking margin with original paint

Note the very thin line of projected color that spills off of the painting onto the wall (caused by a specific constraint in the experimental system).

A conservator demonstrating the effect of the projection with a poster board

A conservator demonstrating the effect of the projection with a poster board

A conservator demonstrating the effect of the projection with a poster board

A conservator demonstrating the effect of the projection with a poster board

A conservator demonstrating the effect of the projection with a poster board

A conservator demonstrating the effect of the projection with a poster board

Cross section of a small paint sample used for material analysis

Cross section of a small paint sample used for material analysis

Example of the spectral analysis used to determine the murals' material composition

Example of the spectral analysis used to determine the murals' material composition

Molecular structure of "the fugitive" pigment

Molecular structure of "the fugitive" pigment

Crystal formation of the "fugitive" pigment viewed under a microscope

Crystal formation of the "fugitive" pigment viewed under a microscope

Additional spectral analysis of paint layers

Additional spectral analysis of paint layers

Model of the technical apparatus used to restore the Harvard Murals

Model of the technical apparatus used to restore the Harvard Murals

View of the restoration technology in use during exhibit installation

View of the restoration technology in use during exhibit installation

Members of the curatorial and conservation team test the system

Members of the curatorial and conservation team test the system

Installation of the Harvard Murals, 2014

Installation of the Harvard Murals, 2014

Original 1964 Kodak slide image used to abduct original colors of the Murals

Original 1964 Kodak slide image used to abduct original colors of the Murals

Due to deterioration and original design, these slides had their own shifts in color that had to be digitally addressed in the conservation process.

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Holyoke Center, Harvard University, ca 1962
Holyoke Center, Harvard University, ca 1962
Rothko with Fogg Museum conservators
Mark Rothko and Fogg Art Museum Director John Coolidge
Mark Rothko and Josep Lluís Sert in the Holyoke Center penthouse
Fogg Conservators stretching the mural canvases onto frames
Students assisting with the hanging of Panel 1
Panel 5 in place near the skylight window
Initial hanging of the triptych
The triptych in the Holyoke Center penthouse dining room
Mark Rothko in his New York studio
Rothko moving a canvas for reconfigutation
Rothko in his studio
Rothko contemplating a painting
The "restored" Harvard Murals at the Harvard Art Museums, 2014
The "restored" Harvard Murals at the Harvard Art Museums
Michaelangelo's Laurentien Library (vestibule)
Panel 5 in its "restored" colors
Panel 5 with the projection turned off
View of the triptych with the projections turned off
Another view of the triptych with the projections turned off
Detail showing tacking margin with original paint
A conservator demonstrating the effect of the projection with a poster board
A conservator demonstrating the effect of the projection with a poster board
A conservator demonstrating the effect of the projection with a poster board
Cross section of a small paint sample used for material analysis
Example of the spectral analysis used to determine the murals' material composition
Molecular structure of "the fugitive" pigment
Crystal formation of the "fugitive" pigment viewed under a microscope
Additional spectral analysis of paint layers
Model of the technical apparatus used to restore the Harvard Murals
View of the restoration technology in use during exhibit installation
Members of the curatorial and conservation team test the system
Installation of the Harvard Murals, 2014
Original 1964 Kodak slide image used to abduct original colors of the Murals
Brown University
77 Waterman Street,
Providence, RI, 02912,
United States
bryan_markovitz@brown.edu
Hours

Bryan Markovitz
bryan-markovitz@northwestern.edu