In 1936, Mark Rothko began writing a book, which he never completed, about the similarities in the children’s art and the work of modern painters. The work of modernists, which was influenced by primitive art, could, according to him, be compared to that of children in that “Child art transforms itself into primitivism, which is only the child producing a copy of himself.” In this same work, he said that “The fact that one usually begins with drawing is already academic. We start with color.”

　　It was not long before his multiform developed into the style he is remembered for. In 1949 Rothko exhibited these new works at the Betty Parsons Gallery. For reviewer Harold Rosenberg, the paintings were unique and primitive. Rothko had, after painting his first multiform, separated himself from the world in East Hampton on Long Island, only inviting a very few people, including Rosenberg, to view the new paintings. The discovery of his works’ specialty came at a period of great sorrow: his mother Kate died in October 1948. As part of this new uniformity of artistic vision, his paintings no longer had individual titles. From this point on they were simply untitled, numbered or dated. However, to assist in distinguishing one work from another, traders would sometimes add the primary colors to the name. Additionally, for the next few years, Rothko painted in oil only on large vertical tents. This was done to surround the viewer, or, in his words, to make the viewer feel enveloped within the picture.

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