"Beta Lambda", 1961 // Morris Louis (American, 1912–1962) // #art #painting #abstract

"Beta Lambda", 1961 // Morris Louis (American, 1912–1962) // #art #painting #abstract

morris louis | Morris Louis, Tet , 1958. Synthetic polymer on canvas, 95 × 153 in ...

morris louis | Morris Louis, Tet , 1958. Synthetic polymer on canvas, 95 × 153 in ...

Morris Louis, Point of Tranquility, acrylic on canvas, 1960 1 of 2 "The more I paint the more I'm aware of a difference in my approach and others. Am distrustful of over-simplifications but nonetheless think that there is nothing very new in any period of art: what is true is that it is only something new for the painter & that this thin edge is what matters."

Morris Louis, Point of Tranquility, acrylic on canvas, 1960 1 of 2 "The more I paint the more I'm aware of a difference in my approach and others. Am distrustful of over-simplifications but nonetheless think that there is nothing very new in any period of art: what is true is that it is only something new for the painter & that this thin edge is what matters."

Citation: Morris Louis standing in front of Untitled, ca. 1956 / unidentified photographer. Morris Louis and Morris Louis Estate papers, Archives of American Art, Smithsonian Institution.

Citation: Morris Louis standing in front of Untitled, ca. 1956 / unidentified photographer. Morris Louis and Morris Louis Estate papers, Archives of American Art, Smithsonian Institution.

Untitled - Morris Louis  Louis eliminated the brush gesture, although his flat, thin pigment is at times modulated in billowing and subtle tones. His Veil Paintings consist of waves of brilliant, curving color-shapes submerged in translucent washes through which separate colors emerge principally at the edges. Although subdued, the resulting color is immensely rich. In another series, the artist used long parallel bands and stripes of pure color arranged side by side in rainbow effects.

Untitled - Morris Louis Louis eliminated the brush gesture, although his flat, thin pigment is at times modulated in billowing and subtle tones. His Veil Paintings consist of waves of brilliant, curving color-shapes submerged in translucent washes through which separate colors emerge principally at the edges. Although subdued, the resulting color is immensely rich. In another series, the artist used long parallel bands and stripes of pure color arranged side by side in rainbow effects.

Morris Louis became one of the leading figures of Color Field painting, along with his contemporaries Kenneth Noland and Helen Frankenthaler. In his short yet prolific career, which he spent in Baltimore &Washington, D.C., he continually experimented with method &medium, manipulating large canvases in creative ways to control the flow & stain of his acrylic paints.

Morris Louis became one of the leading figures of Color Field painting, along with his contemporaries Kenneth Noland and Helen Frankenthaler. In his short yet prolific career, which he spent in Baltimore &Washington, D.C., he continually experimented with method &medium, manipulating large canvases in creative ways to control the flow & stain of his acrylic paints.

Mor­ris Louis (1912-1962)  was an American painter. During the 1950s he became one of the earliest exponents of Color Field painting. Living in Washington, D.C. Louis, along with Kenneth Noland and other Washington painters formed an art movement that is known today as the Washington Color School.

Mor­ris Louis (1912-1962) was an American painter. During the 1950s he became one of the earliest exponents of Color Field painting. Living in Washington, D.C. Louis, along with Kenneth Noland and other Washington painters formed an art movement that is known today as the Washington Color School.

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