... red blue and white riot photos. ‘Blue Veil’ was created in 1958 by Morris Louis in Color Field Painting style.

The large sun shining brightly in the sky supplements the beach setting, while the high horizon line restricts spatial recession. In spite of their greater degree of abstraction, drawings D44, D233A, and #507 convey a similar mood. The Stripe paintings had made such a powerful impression when first shown in 1961 and 1962 that Lawrence Alloway, the curator of Louis’s 1963 Guggenheim Museum memorial exhibition, excluded them and focused exclusively on the paintings from 1954–1960.

The jury for the 1949 Maryland artists show, which included among its members James Johnson Sweeney and Jack Tworkov, awarded a prize to Louis’s Sub-Marine (1948; see p. 56), a picture he showed again later that year in the Corcoran Gallery’s “Annual Area Exhibition.” In the 1950 Baltimore Museum exhibition, Louis’s collage Nest won a prize designated “for a work in any medium showing original work in a modern direction.”.

In the case of Morris Louis we are particularly fortunate to possess a sizeable oeuvre of drawings from the crucial period during which he chose, and eventually extricated himself from, alignments with key masters of twentieth-century art. Changes in both of these places maintain the tautness of the composition by precluding the fading or buckling of the color zone.

The fish shape of D348 is similar, but the artist added a freehand grid and other marks including stars and the symbols for addition, subtraction, and number. Louis’s most significant contributions to the project were his research on early forms of writing and his devising a method of stylization for the basic forms used on the painted panel. The extant mural was recently rediscovered in the Hampstead Hill School by Mildred Blum, a docent at the Baltimore Museum of Art, who passed the information on to me. Quote in Alfred H. Barr, Jr., Matisse: His Art and His Public (New York: 1951), p. 288.

According to the recollections of Dr. George Boas, who joined the faculty of Johns Hopkins in 1921 to teach philosophy, “I was warned that of course I might visit the Cone Collection if I wished, but that its owners were beyond doubt mental cases.”[ii] He was not deterred and, in fact, enjoyed many visits to the Cones’ apartments; he became somewhat of a liaison between the Cones and young Baltimore artists who learned from him about the collection and occasionally received invitations to view it.[iii]. She would walk around with us from one end of the apartment to the other. [39], Like Gorky, whom he knew and admired, Louis occupies a position between two generations, or, as Daniel Robbins phrased it, “at the juncture of two traditions.”[40] Debates about Gorky continue to this day, forty-five years after his death: Was he the last of the surrealists or the first of the Abstract Expressionists? Diversity of figuration yielded to the single Veil image—an image so ideally suited to the poured-paint stain technique that it becomes a simile for the technique that created it. He and Louis were never again as close as they had been, but they remained in contact until Louis’s death. Even closer in style and imagery to the drawings are the series of “Charred Journal” paintings from 1951, five of which were included in Louis’s exhibition in 1953 at the Washington Workshop.

307) introduces the primary elements of the Unfurleds: broad areas of unpainted canvas on which discrete, narrow streams of color are poured from the vertical edge of the work stretcher and directed (probably along indented channels of the canvas) along a steep diagonal toward the bottom. J. S., “Exhibitions,” Art Front (March 1937): 16. His companion is more readily interpreted, despite the curved shape at the juncture of arm and shoulder that suggests both armpit and shoulder blade. nos. no. When their studies at the institute were concluded Schucker won a scholarship to study in Europe in a competition judged by Roland J. McKinney, then director of the Baltimore Museum. Morris Louis, letter to Clement Greenberg, 6 June 1954, Clement Greenberg Correspondence, Archives of American Art, Smithsonian Institution, Washington, D.C. [9].

For reasons that are clear in retrospect, his location probably both impeded and fostered his eventual achievement. . He does not choose his hues according to any apparent scheme, but the differing widths, densities, and brightnesses of the color bands are adjusted to this end. These titles were not given by Louis but were apparently suggested to him by Ida Berkowitz (interview with the author, August 16, 1975). no.

About 1950 Louis produced a group of drawings containing figures that are distant cousins of the “Budapest String Quartet” drawings of a few years earlier.

. Similar in certain respects to the quartet drawings, D494, an undated work in gouache and ink, also must date from the late 1940s. Yellow is the lightest of the primaries and is also intense and warm. Louis appears to have used the bathers primarily as fluid, two-dimensional shapes; although one can interpret them as relaxed or even indolent, narrative content or psychological interaction is rarely suggested. With his vision broadening, Louis became receptive to the issues raised by his American contemporaries, the Abstract Expressionists. His masterful control of the pouring technique permitted him to retain the sensitivity of gestural handwriting on a monumental scale. This drawing is from sketchpad 14, the pages of which are undated, but the presence of a containing rectangle of structuring vertical lines and several ruled horizontal lines are features Louis explored in many drawings of the early 1950s.

As the theme develops color is added, particularly for shock value in paintings. See Daniel Robbins, “Morris Louis at the Juncture of Two Traditions,” Quadrum (1965): 41–54. I had arrived at it mostly through having had contact with Clement Greenberg. As William Rubin observed in a letter to the artist, “By now the three European collectors with homes big enough to house your pictures have them.”[29]. All Rights Reserved |, Color as Field: American Painting, 1950-1975, Colourfield Painting: Minimal, Cool, Hard Edge, Serial and Post-Painterly Abstract Art of the Sixties to the Present, The Shape of Color: Excursions in Color Field Art, 1950-2005, 'Color Field' Artists Found a Different Way, Remixing Washington's Color-Field Vanguard, Color Field Exhibit: "Color as Field: American Painting, 1950-1975" at the Smithsonian Art Museum. I am also extremely grateful to Francis V. O’Connor, who provided me with a copy of the PWAP report and offered assistance in locating Louis’s WPA records.

430), in which symmetrically arranged color bands comprise an image exactly centered between the unpainted areas on either side. Louis was evidently pleased with each, however, for they are all signed and dated. It comes out new & different when art history is submerged and making a painting is a simple experience not precisely like any the artist had before. 81–137), in which two vertical lines, the traces left by the vertical braces of the work stretcher, divide the image internally into three unequal sections. In his monograph on Noland, Mr. Moffett details some of the techniques the two explored together (see Kenworth Moffett, Kenneth Noland [New York: Abrams, 1977], p. 40). The last period of his career has provided the focus for all previous examinations of Louis’s work and will not be further discussed, since no extant drawings date from those years, nor is there any evidence to suggest that Louis made drawings after 1953.

The inherent translucency of the tissue was fully exploited in compositions in which a few circular forms are dominated by a vertical and horizontal structure that recalls the work of Robert Motherwell. Miró may also have been one inspiration that encouraged Louis to float abstract forms, stars, suns, moons, and disconnected decorative lines across the page, their even dispersal canceling any spatial recession. The artist who produced this remarkable oeuvre remains an elusive, enigmatic figure to this day. There used to be some disagreement over which artist had first arrived at the style of Color Field abstraction. 153–77, 183–88). [xlvi] Like the Picasso etching, the Louis drawing conveys a complex and disturbing psychological content, partially due to the striking contrast between the whimsical, imaginary creatures and the double-headed, reclining man.

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