Mark Rothko, No. 17 [or] No. 15, 1949, National Gallery of Art, Gift of The Mark Rothko Foundation, Inc., 1986.43.142
Figurative associations and references to the natural world disappeared from Rothko's paintings of the late 1940s. Linear elements were progressively eliminated as asymmetrically arranged patches of color became the basis of his compositions. The paintings of 1947-1949 are sometimes referred to as multiforms to distinguish them from the more distilled compositions that follow. Certain multiforms retain the play of figure, line, and ground that Rothko employed in his works on paper from 1944-1946, and various textural effects are directly related to his experiments in watercolor and gouache.