A visitor admires Mark Rothko’s “Grey, Orange on Maroon, No. 8” (1960) on view at the Stedelijk Museum in Amsterdam between 2019 and 2020. This image is the Rothko painting damaged by a child. Photo: Aad Hoogendoorn/Museum Boijmans Van Beuningen.

An Unfortunate Incident at a Renowned Cultural Institution

The Rothko painting damaged by an unsupervised boy during a family museum visit raises new concerns over museum safety and artwork preservation.

BY KAZEEM ADELEKE, ARTCENTRON

Is museum security enough? This is the question people are asking after a major incident occurred at the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. It involved a monumental painting by Abstract Expressionist Mark Rothko. The artwork, titled Grey, Orange on Maroon, No. 8, suffered visible damage. An unsupervised child scratched the lower portion of the canvas. This act has triggered international concern and renewed discussions about museum security, preservation, and institutional responsibility.

Grey, Orange on Maroon, No. 8 measures 7 feet 6 inches high by 8 feet 6 inches wide. It stands as a defining example of Rothko’s late period. Created in 1960, the painting showcases his signature floating fields of color. The intention was to evoke profound emotional and spiritual responses in viewers. Rothko, known for exploring themes of human existence and inner turmoil, created pieces that command both reverence and introspection.

This particular piece is one of only two Rothko works in Dutch collections. As such, it holds immense cultural value in the Netherlands. The museum acquired the painting in 1970—the same year Rothko died by suicide. This timing adds further emotional and historical weight to the work.

Rothko Painting Damaged: Details of the Damage

According to the museum’s official statement, the incident took place during an “unguarded moment.” During this time, a child touched and scratched the painting’s unvarnished surface. Although the damage is described as superficial, it left small yet visible scratches on the sensitive, oil-based canvas.

Unvarnished modern paintings like Rothko’s are particularly vulnerable. Their delicate surfaces, flat color fields, and lack of a protective coating make even the most minimal damage visually disruptive. Consultations are ongoing with conservation specialists both in the Netherlands and internationally to assess and recommend the most appropriate restoration methods.

Sophie McAloone, a conservation expert from the U.K.’s Fine Art Restoration Company, was succinct about the vulnerability of such works. Speaking on BBC, she explained that unvarnished pieces like Rothko’s are “particularly susceptible to damage due to their complex materials and lack of a protective layer.” These elements result in the smallest scratch dramatically altering the viewer’s experience of the work.

Restoration is expected; however, the process will demand exceptional skill and expertise. The task involves reintegrating pigments into expansive, uninterrupted color fields. Conservators must avoid compromising the work’s authenticity. Because Rothko used thin layers of pigment, any intervention must carefully replicate this technique. Otherwise, the result could introduce lasting visual inconsistencies.

Although the museum has not disclosed the painting’s exact value, experts estimate it at around €50 million ($57 million). This figure is consistent with Rothko’s standing in the global art market. Rothko’s market value is well-established. In 2012, his painting Orange, Red, Yellow (1961) sold for $86.9 million at Christie’s in New York, setting a record at the time.

Since 2008, ten of Rothko’s paintings have each sold for more than $50 million at major auctions. These record auction prices underscore both his enduring influence and the strong investment appeal of his work.

Museum Security and Visitor Responsibility

The Boijmans Van Beuningen Museum is currently undergoing a long-term renovation, projected to last until at least 2030. As a result, many works, including Rothko’s, are on display at Depot Boijmans Van Beuningen. This facility functions as both public storage and exhibition space. Its open-display concept has been praised for its transparency. However, it also increases the risk of accidental damage, especially when visitor supervision lapses.

This incident raises important questions about the balance between accessibility and security in public art institutions. Museums aim to be accessible to visitors of all ages. Nonetheless, this incident highlights the need for heightened vigilance. It may also prompt institutions to rethink how they display irreplaceable artworks.

Who Will Pay for the Restoration?

It remains unclear who will bear the financial responsibility for restoring the damaged painting. In the past, the museum has asked visitors to contribute to restoration costs. For example, in 2011, a tourist was held liable for damages after stepping on Wim T. Schippers’ conceptual piece Peanut Butter Floor. The museum has not publicly commented on whether the family involved may be held financially responsible. However, the possibility of restitution for restoration remains open. One option, according to industry professionals, is that the museum can tap into its fine art insurance, which typically covers accidental damage, including incidents involving visitors. The process involves insurers dispatching loss adjusters to assess the damage as well as review CCTV footage before evaluating restoration options.

Other Incidents of Rothko Vandalism

This is not the first high-profile incident involving a Rothko. In 2012, Vladimir Umanets defaced Black on Maroon (1958) at Tate Modern by writing “This is yellowism” across the canvas in a self-proclaimed act of performance art. The painting was painstakingly restored over two years and returned to display in 2014. That incident, like the current one, highlighted the challenges of protecting vulnerable paintings in public spaces.

Rothko’s scratched painting is the latest in a string of artworks unintentionally damaged by young museum-goers. More recently, in August 2024, a 4-year-old child accidentally broke a 3,500-year-old artifact at the Hecht Museum at the University of Haifa. Such cases continue to fuel debates about child supervision in museums and whether additional safeguards or access restrictions are necessary.

The Path Forward for the Museum and the Masterpiece

The Museum Boijmans Van Beuningen assures the public that Grey, Orange on Maroon, No. 8 will go back on display after conservation is complete. However, this timeline remains uncertain, as specialists continue to examine the best course of action. However, the museum has chosen not to release images or offer further commentary. This restraint is likely to protect the painting’s public image and avoid unnecessary sensationalism.

Meanwhile, the incident has intensified scrutiny of public interaction policies. It may lead to a broader reassessment of how museums display valuable, unprotected works in open settings.

The Rothko painting damaged by a child raises questions about museum security. Do you think museums are doing enough to protect valuable art? Share your thoughts. Leave a comment.