About the Pictorial Space and the Pictorial Surface: Claude Monet and Mark Rothko

The history of pictorial space can be understood as a history of visual artifice, perceptual constructions, and material illusions inscribed on the painted surface. This article examines some fundamental milestones in the relationship between pictorial surface and space through a comparative analysis spanning from the modern tradition to contemporary painting, with special attention to the work of Claude Monet and Mark Rothko. It studies those pictorial strategies capable of generating perceptual ambiguity and uncertainty in the observer as a source of aesthetic and emotional experience. Starting from the conical perspective as a historical device for representing space on a two-dimensional surface, the work analyses its progressive dissolution at the end of the 19th century and the emergence of new spatial resources based on colour, matter and the organisation of the pictorial surface. In this context, painting abandons traditional optical illusion to explore forms of perceptual spatiality that can be as tangible as constructed architecture. Taking an interdisciplinary approach that links art theory, the history of painting and visual analysis, the article contributes to our understanding of the ways in which materials, pictorial methods and compositional strategies shape spatial experiences in modern and contemporary painting.