<\/p>\n
In the 1930s, Mark Rothko<\/strong> (1903-1970) started his career as a painter in New York, where he settled after his graduation. The energy of the city fascinated him and inspired his paintings at the time \u2013 entrance halls of theatres and cinemas, New York streets and night owls. However, his favorite topic remained the subway stations, which embodied modern life and its massive urbanization according to him. In Untitled (The Subway)<\/em>, we can notice elements that characterize the works from that period, such as the columns, or the vanishing points formed by the platforms and railway tracks framing a space in which passengers are almost prisoners, \u201cas if trapped in the architecture<\/em>\u201d, as Suzanne Pag\u00e9<\/strong> describes them. <\/p>\n <\/p>\n The following paintings of the exhibit take up the same theme again, featuring bodies that increasingly stretch out and become slimmer to eventually merged with the columns, like abstract geometric shapes. Influenced by the primitive aesthetic, the melancholic canvas of 1937 already conveyed the passengers\u2019 silence and isolation with its dark, even sad color palette, but also the shadow of the economic crisis that stuck the United States after the crash of 1929.<\/p>\n <\/p>\n2. Neo-surrealist phantasmagoria<\/h2>\n