DOCSLIB.ORG

Morris Louis Exhibition History Exhibitions Cited Throughout Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morris Louis Exhibition History Exhibitions Cited Throughout Thesis MORRIS LOUIS EXHIBITION HISTORY EXHIBITIONS CITED THROUGHOUT THESIS WPA Pavilion, World’s Fair in New York, 1939. Emerging Talent, New York, Kootz Gallery, 11–30 Jan, 1954. Morris Louis, Washington D.C., Workshop Art Center Gallery, Washington Workshop Center of the Arts, 12–30 Apr 1953. Morris Louis, New York, Martha Jackson Gallery, 5–23 Nov 1957. Morris Louis, New York, French and Company, 14 Apr–2 May 1959, curated by Clement Greenberg. Morris Louis, New York, French and Company, 23 Mar–16 Apr 1960, curated by Clement Greenberg. Morris Louis, New York, André Emmerich Gallery, 3–21 Oct 1961. Morris Louis, London, Institute of Contemporary Art, Spring 1960. Morris Louis, Vermont, Bennington College, 19 Oct–15 Nov 1960, curated by Clement Greenberg. Morris Louis, Milan, Galleria dell’Ariete, 23 Nov–20 Dec 1960. New American Painting, Paris, Galerie Neufville, 3-13 May 1960. From Space to Perception, Rome, New York Art Foundation, Nov 1960-Feb 1961. Morris Louis, New York, André Emmerich Gallery, 2–21 Oct 1961. American Abstract Expressionists and Imagists, New York, Solomon R. Guggenheim Museum, 13 Oct 1961–1 Jan 1962, curated by H. H. Arnason Morris Louis, New York, André Emmerich Gallery, 16 Oct–10 Nov 1962. POSTHUMOUS EXHIBITIONS Morris Louis: Memorial Exhibition: Paintings from 1954–1960, New York, Solomon R. Guggenheim Museum, Sep–Oct 1963, curated by Lawrence Alloway. Post–Painterly Abstraction, Los Angeles, Los Angeles County Museum of Art, 23 Apr–7 June 1964, travelling Minneapolis and Toronto, curated by Clement Greenberg. The Responsive Eye, New York, The Museum of Modern Art, 25 Feb- 25 Apr, 1965, travelling to Seattle, Pasadena and Baltimore, curated by William C. Seitz. Morris Louis 1912–1962, Boston, Boston Museum of Fine Arts, 13 Apr–24 May 1967, travelling to Los Angeles and St. Louis, curated by Michael Fried. 168 Morris Louis: The Veil Cycle, Minneapolis, Walker Art Centre, 6 Feb–27 Mar 1977, travelling to Denver, Texas, Syracuse and Baltimore. The Drawings of Morris Louis, Washington, National Collection of Fine Arts, Smithsonian Institution, 6 Dec 1979–3 Feb 1980, travelling to Massachusetts, curated by Diane Upright. Morris Louis, New York, The Museum of Modern Art, 6 Oct 1986–4 Jan 1987, travelling to Texas and Washington D.C., curated by John Elderfield. Morris Louis: The Charred Journal Series, 1951, New York, The Jewish Museum, 19 Jan–13 Apr 1997. Morris Louis, Germany, Landesmuseum für Kunst und Kulturgeschichte Münster, 19 May–28 Jul 1996; France, Musée Grenoble, 28 Sept–16 Dec 1996. Morris Louis: Major Paintings 1953–1962, Scottsdale, Riva Yares Gallery, 31 Mar– 19 May 2001, travelling to Santa Fe. Morris Louis, New York, Paul Kasmin Gallery, 11 Oct- 22 Dec, 2001 and 13 Nov- 31 December, 2003. Morris Louis: 2004: The French & Co. Show of 1960, Santa Fe, Riva Yares Gallery, 13 Aug–27 Sept 2004, travelling to Scottsdale. Morris Louis Now: An American Master Revisited, Atlanta, High Museum of Art, 4 Nov 2006–24 Jan 2007, travelling to San Diego and Washington D.C. Curated by Jeffrey Grove. 169 BIBLIOGRAPHY TEXTS ON MORRIS LOUIS CLEMENT GREENBERG MODERNIST PAINTING TEXTS ON MORRIS LOUIS Alloway, Lawrence. ‘Notes on Morris Louis’, Morris Louis 1912–1962: Memorial Exhibition, Paintings from 1954–1960, exh. cat, New York, Solomon R. Guggenheim Museum, 1963, unpaginated. Anfam, David. ‘Morris Louis – Grenoble’, The Burlington Magazine, vol. 139, no. 1128, Mar 1997, 215–16. Ayers, Robert. ‘Colour and Motion’, Artscribe, no. 33, Feb 1982, 38–46. Brennan, Marcia. ‘How Formalism Lost its Body but Kept its Gender: Frankenthaler, Louis, and Noland in the Sixties’, in Modernism’s Masculine Subjects: Matisse, the New York School, and Post–Painterly Abstraction, Cambridge, MIT Press, 2004, 116–151. Carmean Jr., E.A. ‘Morris Louis and the Modern Tradition: VI: Principles of Abstraction, Arts Magazine, vol. 51, no. 4, 1976, 116–119. _________. ‘A Possible Reversion in Morris Louis’ work’, Arts Magazine, vol. 50, Apr 1976, 69–75. Elderfield, John. Morris Louis, exh. cat, New York, The Museum of Modern Art, 1987. Fried, Michael. ‘Some Notes on Morris Louis’, Arts Magazine, vol. 38, no. 2, Nov 1963, 22–27. _________. Morris Louis, New York, Harry N. Abrams, 1970. _________. ‘Introduction’, Morris Louis 1912–1962, exh. cat, Boston, Boston Museum of Fine Arts, 1967, 7–23. _________. ‘Blue Veil by Morris Louis’, Fogg Art Museum: Acquisitions 1965, Cambridge, Harvard University, 1965, 177–181. Jacobson, Helen. ‘As I Remember Morris Louis’, Ten Washington Artists: 1950– 1970, exh. cat, Canada, The Edmonton Art Gallery, 5 Feb–8 Mar 1970, 8–9. Krauss, Rosalind. Morris Louis, exh. cat, New Zealand, Auckland Art Gallery, 1971. Lucie–Smith, Edward. Morris Louis: Major Paintings 1953–1962, exh. cat, Scottsdale & Santa Fe, Riva Yares Gallery, 2001. Robbins, Daniel. ‘Morris Louis at the Juncture of Two Traditions’, Quadrum, vol. 18, 1965, 41–54. _________. ‘Morris Louis: Triumph of colour’, ARTNews, vol. 62, no. 2, Oct 1963, 28–29; 57–58. 171 Rosenblum, Robert. ‘Morris Louis at the Guggenheim’, Art International, vol. 7, no. 9, 1963, 24–27. Rubin, William. ‘Letter to the Editor’, Artforum, vol. 9, no. 7, Mar 1970, 78. _________. ‘Younger American Painters’, Art International, vol. 4, Jan 1960, 24–31. Rudenstine, Angelica. ‘Chronology’, in Michael Fried, Morris Louis 1912–1962, exh. cat, Boston, Museum of Fine Arts, 1967, 25–28. Singerman, Howard. ‘Noncompositional Effects, or the Process of Painting in 1970’, Oxford Art Journal, vol. 26, no. 1, 2003, 127-150. Siqueiros, David. et.al., ‘A Declaration of Social, Political and Aesthetic Principles’ (1922), reprinted in Charles Harrison and Paul Wood, eds., Art In Theory: 1900– 1990, Oxford, Blackwell Publishers, 1992, 387–388. Swanson, Dean and Upright, Diane. exh. cat, Morris Louis: The Veil Cycle, Minneapolis, Walker Art Centre, 1977. Truitt, James M. ‘Art – Arid D.C. Harbors Touted ‘New’ Painters’, Washington Post, 21 Dec 1961, A20. Upright Headley, Diane. ‘In Addition to the Veils’, Art in America, vol. 66, no.1, Jan–Feb 1978, 84–94. Upright, Diane. The Drawings of Morris Louis, exh. cat, Washington D.C., Smithsonian Institute Press, 1979. _________. Morris Louis: The Complete Paintings: A Catalogue Raisonné, New York, Harry N. Abrams, 1985. _________. ‘Morris Louis: Disposing the Diagonal’, Arts Magazine, vol. 50, April 1976, 69–75. _________. ‘Letter to the Editor’, Art in America, vol. 66, no. 2, Mar–Apr 1978, 5. _________. ‘Documentation: The Veil Paintings’, in Morris Louis: The Veil Cycle, exh. cat, Minneapolis, Walker Art Centre, 1977, 16–32. 172 CLEMENT GREENBERG Note: Essays by Greenberg used from John O’Brien’s edited collections of Greenberg’s essays are indicated by the following abbreviations, with corresponding page numbers: (O’Brien 1) Clement Greenberg: The Collected Essays and Reviews: Volume 2: Arrogant Purpose, 1945–1949, Chicago, University of Chicago Press, 1986. (O’Brien 2) Clement Greenberg: The Collected Essays and Reviews: Volume 4: Modernism with a Vengeance, 1957–1969, Chicago, University of Chicago Press, 1993 1939–1959 ‘Avant–Garde and Kitsch’, Partisan Review, vol. 6, no. 5, Fall 1939, 34–49. ‘Towards a Newer Laocöon, Partisan Review, vol. 7, no. 4, July–Aug 1940, 296–310. ‘The Situation at the Moment’, Partisan Review, vol. 15, no. 1, Jan 1948 (O’Brien 1, 192–196) ‘The Crisis of the Easel Picture’ (1948), Art and Culture: Critical Essays, Boston: Beacon Press, 3rd edition, 1968, (O’Brien 1, 221–225). ‘Feeling is All’, Partisan Review, vol. 19, Jan–Feb, 1952, 97–102. Matisse, New York, Harry N. Abrams, 1953. ‘“American–type” Painting’, Partisan Review, Spring 1955, 179–196. ‘New York Painting Only Yesterday’ (1957) (O’Brien 2, 19–25) ‘Sculpture in our Time’ (1958) (O’Brien 2, 55–60) ‘“American–Type” Painting’ (1958), in Art and Culture: Critical Essays, Boston, Beacon Press, 1968, 3rd edition, 208–229. ‘Introduction’, Barnett Newman: First Retrospective Exhibition, Vermont, Bennington College, 1958 (O’Brien 2, 58) ‘The Pasted–Paper Revolution’ (1958) (O’Brien 2, 61–66) ‘The Case for Abstract Art’ (1959) (O’Brien 2, 75–84) 173 1960–1980 ‘Modernist Painting’ (1960) (O’Brien 2, 85–93) ‘Louis and Noland’ (1960) (O’Brien 2, 94–99) ‘After Abstract Expressionism’ (1962) (O’Brien 2, 121–133) Post–Painterly Abstraction, exh. cat, Los Angeles, Los Angeles County Museum of Art, 1964 (O’Brien 2, 192–196.) ‘Letter to the Editor of Art International about Morris Louis’ (1965) (O’Brien 2, 209– 212). ‘Complaints of an Art Critic’ (1967) (O’Brien 2, 265–271) Art and Culture: Critical Essays, Boston, Beacon Press, 3rd edition, 1968. ‘Letter to the Editor’, Art in America, vol. 66, no. 2, Mar–Apr 1978, 5 (see also Diane Upright, 1978) BY OTHER AUTHORS Florence Rubenfeld, Clement Greenberg: A Life, New York, Scribner, 1997. 174 MODERNIST PAINTING Alloway, Lawrence. ‘Introduction’, Jackson Pollock: Paintings, Drawings and Watercolours from the Collection of Lee Krasner Pollock, exh. cat, London, Marlborough Fine Art, 1961, unpaginated. Arnason, H. H., American Abstract Expressionists and Imagists, New York,, Solomon R. Guggenheim Museum, 1961. Ashton, Dore. The New York School: A Cultural Reckoning, New York, Viking Press, 1972. Barr, Alfred H. The New American Painting: As Shown in Eight European Countries, 1958–1959, exh. cat, New York, Museum of Modern Art, 1959. Broun, Elizabeth. ‘Thomas Hart Benton: A Politician in Art’, Smithsonian Studies in American Art, vol. 1, no. 1, Spring 1987, 58–77. Collins, Bradford R. ‘Life Magazine and the Abstract Expressionists, 1948–51: A Historiographic Study of a Late Bohemian Enterprise’, The Art Bulletin, vol. 73, no. 2, June 1991, 280–308. _________. ‘Clement Greenberg and the Search for Abstract Expressionism’s Successor: A Study in the Manipulation of Avant–Garde Consciousness’, Arts Magazine, vol. 61, May 1987, 36–43. Crook, Jo and Learner, Tom. The Impact of Modern Paints, London, Tate Publishing, 2000.
Load more

Recommended publications
  • National Gallery of Art Postage Washington, D.C
    National Gallery of Art Postage Washington, D.C. 20565 and Fees Paid Official Business National Penalty for Private Use, $300 Gallery of Art Third Class Bulk Rate Return Postage Guaranteed CALENDAR OF EVENTS October 1976 National Gallery of Art October 1976 MORRIS LOUIS: MAJOR THEMES AND VARIATIONS Sixteen paintings by Morris Louis (1912-1962), an internationally recognized contributor to the history of modern painting who helped found the Washington Color School, continue on view in galleries 68 through 71. This exhibition is the second in a series organized by the Gallery on aspects of twentieth-century art. Of the paintings in the Louis exhibition, three have never been exhibited or published before: Dalet Tet, a black Veil painting; Janus, an exploration of varying TITIAN. The Triumph of Christ (detail) values of green; and Alphard, which is composed Kupferstichkabinett, Staatliche Museen, Berlin asymmetrically around an intense purple stripe, a TITIAN AND THE VENETIAN WOODCUT compositional format previously not seen in Louis' To mark the international Titian quadricentennial work. Also on view is Beta Kappa, a gift to the Gallery by celebration, an exhibition of 113 woodcuts by Titian and Mrs. Marcella Brenner, the artist's widow. National other Venetian artists will go on view at the The paintings date from the artist's last eight years Gallery October 30 in galleries 23 through 28 on the (1954-1962) and demonstrate Louis' most important of Main Floor. As part of the Gallery's reinstallation contribution to the history of modern painting the its Northern Italian paintings, thirteen works by Titian exploitation of unprimed canvas stained with thinned from the collections, including Venus with a Mirror, paint so that color becomes the dominant element.
    [Show full text]
  • Colorful Language: Morris Louis, Formalist
    © COPYRIGHT by Paul Vincent 2014 ALL RIGHTS RESERVED To UNC-G professor Dr. Richard Gantt and my mother, for their inspiration and encouragement. COLORFUL LANGUAGE: MORRIS LOUIS, FORMALIST CRITICISM, AND MASCULINITY IN POSTWAR AMERICA BY Paul Vincent ABSTRACT American art at mid-century went through a pivotal shift when the dominant gestural style of Abstract Expressionism was criticized for its expressive painterly qualities in the 1950s. By 1960, critics such as Clement Greenberg and Michael Fried were already championing Color Field painting for its controlled use of color and flattened abstract forms. Morris Louis, whose art typifies this latter style, and the criticism written about his work provides a crucial insight into the socio-cultural implications behind this stylistic shift. An analysis of the formalist writing Greenberg used to promote Louis’s work provides a better understanding of not only postwar American art but also the concepts of masculinity and gender hierarchy that factored into how it was discussed at the time. ii ACKNOWLEDGMENTS I would like to extend my thanks Dr. Helen Langa and Dr. Andrea Pearson for their wisdom, guidance, and patience through the writing of this thesis. I would also like to thank Dr. Juliet Bellow, Dr. Joanne Allen, and Mrs. Kathe Albrecht for their unwavering academic support. I am equally grateful to my peers, Neda Amouzadeh, Lily Sehn, Kathryn Fay, Caitlin Glosser, Can Gulan, Rachael Gustafson, Jill Oakley, Carol Brown, and Fanna Gebreyesus, for their indispensable assistance and kind words. My sincere appreciation goes to The Phillips Collection for allowing me the peace of mind that came with working within its walls and to Mr.
    [Show full text]
  • Color Field, Then And
    Color Field, Then and Now I fear that the visual culture in which these works were admired is now one of those distant “you had to be there” moments, which are impossible to reconstruct. by David Carrier March 7, 2020 Paul Feeley, Formal Haut, 1965, oil-based enamel on canvas, 60 x 60 inches The Fullness of Color: 1960s Painting at the Guggenheim Museum, New York, is a small catalogue-less exhibition that presents a large roomful of Color Field paintings. The show includes Kenneth Noland’s “Trans Shift” (1964), in which a suspended blue and green chevron, set on the white canvas ground, reaches almost to the bottom edge of the frame; Jules Olitski’s “Lysander-I” (1970), where the reddish mist in the upper right quadrant slowly fades into yellow; Alma Thomas’s “Cherry Blossom Symphony” (1972), with a violet background on which small marks of dark blue are superimposed — they look a little like the lozenges in some of Larry Poon’s early paintings. (Thomas actually is the most interesting artist here. Her presence puzzles me, for I don’t usually associate her with these other Color Field painters.) In Morris Louis’s “I-68” (1962), a field of thinly painted colors descends vertically. And Helen Frankenthaler’s “Canal” (1963) sets an irregularly shaped orange-yellow form of billowing color in front of a blue patch and, at the top, behind a dark grayish form. And there are two minor paintings, Gene Davis’s big “Wheelbarrow” (1971) and Paul Feeley’s decorative “Formal Haut” (1965). A review should focus on the art displayed.
    [Show full text]
  • Grade 1, Lesson 6, Louis
    1 First Grade Print Alpha-Pi (1960) By Morris Louis (Loo –is) Technique: acrylic on canvas Size: 102 ½” x 177” Collection: The Metropolitan Museum of Art, New York Art Style: Abstract Expressionism – Color Field OBJECTIVES: The students will be introduced to the work of Morris Louis. The students will define the term “abstract” as it relates to visual arts. The students will describe Louis’ staining technique. The students will examine Louis’ color choices. The students will analyze Louis’ compositional choice in his work, Alpha-Pi. The students will apply watercolor paint to paper in a similar way to Louis’ technique. The students will explore color and composition in their artwork. ABOUT THE ARTIST: Morris Louis (1912-1962) was an American Abstract Expressionist painter. As an Abstract Expressionist, Louis created artwork that did not represent identifiable subject matter, but instead he expressed his feelings through color and line. He studied at the Maryland Institute of Fine and Applied Arts. Louis was part of a group of artists who developed “color field” painting. This type of painting was characterized by solid planes of fluid paint and intense color. Louis wanted to communicate purely through color, and he also experimented with “empty” space in his compositions. (See other images of Morris Louis’ artwork in the “Support Materials.”) Alpha Pi is a large work of art. It is a little over 8 feet in height and 14 feet in length. Louis had a very small studio and didn’t have enough room to spread out his canvas so he kept it folded. He could paint on only one portion of the canvas at a time.
    [Show full text]
  • MORRIS LOUIS (1912-1962) the Emergence of Morris Louis [This Text Is Reproduced in Its Entirety from the Following Publication
    MORRIS LOUIS (1912-1962) The Emergence of Morris Louis [This text is reproduced in its entirety from the following publication: Upright, Diane. Morris Louis: The Complete Paintings. New York: Harry N. Abrams, Inc., 1985, pp. 9-34.] Little more than twenty years after his death in 1962, the reputation of Morris Louis is securely established. An extensive bibliography and exhibition history, as well as the presence of his paintings in the collections of almost seventy museums around the globe, provide clear testimony to this fact. Yet, astonishingly, that part of his career on which his reputation is based lasted only five years, during which time he produced close to six hundred paintings. Of these, about four hundred are enormous, mural-sized canvases. The artist who produced this remarkable oeuvre remains an elusive, enigmatic figure to this day. A loner, especially during the years of his greatest achievement, Louis had few friends and rarely discussed his art with anyone—not even his wife. Never part of the New York art world except for a few years spent working for the Works Progress Administration in New York during the 1930s, he chose instead the relative isolation of Baltimore and, later, Washington, D.C. Even after he had achieved some success, toward the end of his tragically short career, he still worked alone in a studio so small that he could only work on one canvas at a time. In fact, in the case of the largest paintings from his series of Unfurleds, he could only work on half of a canvas at a time.
    [Show full text]
  • Opticality and the Work of Morris Louis (1912-1962)
    CHAPTER 1 SITUATING MORRIS LOUIS 1912–1962 SITUATING MORRIS LOUIS 1912–1962 Although the work of the Washington–based artist Morris Louis (1912–62) is now discussed alongside some of the most well–known of the American abstract artists of the mid–twentieth century, much of Louis’ mature work, and arguably his most refined, was produced outside of public knowledge. For the majority of Louis’ career his work existed in relative obscurity, particularly in comparison with his contemporaries, artists such as Jackson Pollock (1912–56), Mark Rothko (1903–70) and Clyfford Still (1904–80). Being amongst the first generation of abstract artists in the United States, the newness of his abstract painting depended upon the endorsement of major critics for public appreciation.1 The critical recognition of Louis’ work emerged only with the support of Clement Greenberg in 1960, almost 30 years after he began working as an artist and only two years before his death. The timing of Greenberg’s writing positioned Louis amongst a new generation of artists including Frank Stella (1936 – ), Kenneth Noland (1924 –) and Jules Olitski (1922 –). Audiences were only beginning to appreciate Louis’ work as he entered the last phase of his career, and as such, the representation of Louis’ work only addressed a small period of his career. The limited exposure of Louis’ paintings prior to the early 1960s had major effects upon how his works were interpreted in the decades following his death. Many retrospectives and group exhibitions of Louis’ work came to relate his paintings to the work of younger artists engaging with ‘Colourfield’ abstraction.
    [Show full text]
  • Color Field Painting Is a Tendency Within Abstract Expressionism, Distinct from Gestural Abstraction, Or Action Painting
    QUICK VIEW: Synopsis Color field painting is a tendency within Abstract Expressionism, distinct from gestural abstraction, or action painting. It was pioneered in the late 1940s by Mark Rothko, Barnett Newman, and Clyfford Still, who were all independently searching for a style of abstraction which might provide a modern, mythic art, and express a yearning for transcendence and the infinite. To achieve this they abandoned all suggestions of figuration and instead exploited the expressive power of color by deploying it in large fields which might envelope the viewer when seen at close quarters. Their work inspired much Post-painterly abstraction, particularly that of Helen Frankenthaler, Morris Louis, Kenneth Noland, and Jules Olitski, though for later color field painters, matters of form tended to be more important that mythic content. Key Ideas / Information • Color field painting emerged out of the attempts of several artists in the late 1940s to devise a modern, mythic art. Seeking to connect with the primordial emotions locked in ancient myths, rather than the symbols themselves, they sought a new style which would do away with any suggestion of illustration. • The style was championed most enthusiastically by critic Clement Greenberg, who acclaimed the advances it achieved in the realm of form and composition. Bemoaning what he saw as the increasingly imitative, academic qualities of some action painters, he argued that color field painting represented the way forward. His advocacy of the style proved highly influential. • Color field painting marks a major development in abstract painting, since it was the first style to resolutely avoid the suggestion of a form or mass standing out against a background.
    [Show full text]
  • Gagosian Gallery
    The New York Times September 18, 2014 GAGOSIAN GALLERY Color, Chemistry and Creativity Helen Frankenthaler at Gagosian and Morris Louis at Mnuchin Karen Rosenberg The Color Field artist Helen Frankenthaler’s “Cool Summer” (1962), at Gagosian Gallery. Credit 2014 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; Gagosian Gallery Color Field painting arrived, in the late 1950s, at a moment of simultaneous exhaustion and innovation: fatigue with the Abstract Expressionist hegemony on the one hand, and radical new developments in paint chemistry on the other. These forces conspired in a movement to make paintbrushes superfluous and to give color, the essence of painting, even more primacy. As the critic and Color Field champion Clement Greenberg put it, “The more closely color could be identified with its ground, the freer would it be from the interference of tactile associations.” Helen Frankenthaler and Morris Louis, egged on by Greenberg, were at the forefront of this color liberation. Working with new acrylics like Magna, which retained their bright hues even when thinned to a watery consistency, they made exceptionally vivid, viscous and immediate paintings on unprimed canvas. Their vigor can be savored in two gallery shows little more than a block apart: “Helen Frankenthaler: Composing With Color: Paintings 1962-1963,” at Gagosian, and “Morris Louis: Veils,” at Mnuchin Gallery. The Louis works at Mnuchin date from 1958 to 1960; the Frankenthalers at Gagosian, from 1962 to 1963. But the Frankenthaler exhibition should really be seen first, in deference to the influence of her early stain paintings: specifically, “Mountains and Sea,” hailed as a precursor to Color Field painting.
    [Show full text]
  • MORRIS LOUIS Cover: Gamma Upsilon Cat
    MORRIS LOUIS Cover: Gamma Upsilon Cat. No.6 MORRIS LOUIS An exhibition organised by the Auckland City Art Gallery in association with the Honolulu Academy of Arts, the National Gallery of Victoria, Melbourne, and the Santa Barbara Mus­ eum of Art, California. MORRIS LOUIS 1912-1962 Exhibition Dates Honolulu Academy of Arts April 30-May 30 1971 National Gallery of Victoria, Melbourne July 8-August 31 1971 Auckland City Art Gallery October 12-November 28 1971 Santa Barbara Museum of Art January 8-February 6 1972 ACKNOWLEDGEMENTS This exhibition, which forms part of the Auckland City Centennial programme, is undoubtedly one of the finest that this gallery has received from the United States. I know I speak for the other three galleries participating in the tour of this exhibition when I express my sincere thanks to Mr Andre Emmerich of the Andre Emmerich Gallery in New York. Mr Emmerich has given invaluable assistance without which this exhibition would not have been possible. I should also like to acknowledge the assistance given by the trustees of the Morris Louis Estate and also that of Rosalind Krauss for her introduction to the catalogue. Finally, my thanks to Mr David Armitage of the Art Gallery staff who proposed that this exhibition be held and has organised the tour. Gil Docking Director Auckland City Art Gallery April 1971 INTRODUCTION which constant and irradiant internal changes of both color and light or dark did not - almost magically did not - bring with them a recollection of natural space. The quenching of illusionistic space is difficult: one almost automatically reads a change in level between two areas of different value or hue such that one area seems to stand in ROSALIND E.
    [Show full text]
  • Contemporary Art at Sotheby's
    Press Release New York For Immediate Release New York | +1 212 606 7176 | Lauren Gioia | [email protected] | Dan Abernethy | [email protected] | Contemporary Art At Sotheby’s Mark Rothko, Untitled, (est. $20/30 million) On 9 November 2010 Sotheby’s Contemporary Art Evening Sale will be led by a major 1955 Untitled painting by Mark Rothko which has been off the market for over 40 years (est. $20/30 million)*. The auction also includes major works by many of the leading artists of the 20th and 21st centuries including Andy Warhol, Francis Bacon, Gerhard Richter, Roy Lichtenstein, and Robert Rauschenberg among others. All the works will be on view from 5 November with selected highlights on exhibition from 29 October. Abstract Expressionism The powerful yellow, orange and white canvas of Rothko’s Untitled dates from a period in which the Abstract Expressionists had achieved long-awaited critical acclaim for their dealer exhibitions and were now the subject of solo shows at major museums. Paintings by Rothko and his greatest contemporaries from this time now rank among the most important works in public and private collections today. The year 1955 was a particularly important one for Rothko, and of the 22 paintings he created that year well over half are in international museum collections including the National Gallery of Art in Washington DC, The Museum of Modern Art in New York and the Museum Ludwig, Cologne. In the present work, veils of rich citrus yellow and opalescent white are layered onto an orange ground animated by tones that range from warm orange red to cool light orange.
    [Show full text]
  • Make Room for Color Field
    Library Guide Make Room for Color Field Elberta, 1975 Helen Frankenthaler Resource List | 2016 The three painters represented in this exhibition exemplify the Color Field movement, with large canvases bathed in fields of vibrant color. Each artist creates canvases that are, “lyrical and poetic, relying upon the primacy of large swaths of radiant hues, and the interactions of color and form, to convey its meaning.”* In this bibliography we have selected general resources to contextualize the Color Field movement and the artists represented as well as select resources on the artists featured in this intimate exhibition. If you have questions, please contact the reference staff at the Spencer Art Reference Library (telephone: 816.751.1216). Library hours and services are listed on the library website at nelson-atkins.org/library Selected by: Tracey Boswell | Librarian General Resources Auping, Michael. Abstract Expressionism: the Anfam, David. “Colour Field Painting.” Grove Critical Developments. New York: HN Abrams, Art Online. Oxford Art Online, updated and 1987. revised October, 2013. Accessed December 18, Call No: ND212.5 .A25 A96 1978. 2015. http://www.oxfordartonline.com/subscriber/ar Kostelanetz, Richard. “The State of the Art of ticle/grove/art/T018823 Painting.” North American Review, 255 (Winter *Available from the Spencer Art Reference 1970): 52-60. Accessed December 18, 2015. Library. http://www.jstor.org/stable/25117143 Library Resource List 2016 | Make Room for Color Field | 1 *The Nelson-Atkins Museum of Art. Make Smith, Elizabeth A.T. Helen Frankenthaler: Room For Color Field Exhibition Brochure. Kansas Composing with Color: Paintings 1962-1963. New City: The Nelson-Atkins Museum of Art, 2016.
    [Show full text]
  • MORRIS LOUIS (1912-1962) Morris Louis: Biography [This Text Is
    MORRIS LOUIS (1912-1962) Morris Louis: Biography [This text is reproduced in its entirety from the following publication: Upright, Diane. Morris Louis: The Complete Paintings. New York: Harry N. Abrams, Inc., 1985, p. 59-62]. Unless otherwise specified, material quoted in this outline is taken from the Morris Louis Archives (see Bibliography no. 1) 28 November 1912 Morris Louis Bernstein was born in Baltimore, Maryland. His parents, Louis Bernstein (born 21 October 1877) and Cecelia Luckman Bernstein, had emigrated from Russia. His father was initially a factory worker, but later owned a small grocery store. Louis was the third of four sons; his two elder brothers, Joseph and Aaron, became physicians, and the younger, Nathan, became a pharmacist. 1918–27 Louis attended public schools in Baltimore: No. 11 Primary School (Caroline Street), No. 77 Primary School (Washington Avenue), Gwynns Falls Junior High School, and Baltimore City College. 1927–32 In a state competition that he entered at the age of fifteen, Louis won a four-year scholarship to the Maryland Institute of Fine and Applied Arts. His transcript reveals that he was a slightly better than average student. He was awarded a diploma by the Fine Arts Department in June 1932. Louis admired the work of Eugene Speicher (1883–1962) and Cézanne, and visited the Cone Collection in Baltimore with his friend Charles Schucker, also an artist, two or three times (interview with the author, 23 June 1978). 1933–36 Louis shared studios in an office building in Baltimore with Schucker and also with Ben Silbert. Louis held a variety of odd jobs to support himself during these years: he peeled vegetables for an Italian restaurant, folded clothes in a laundry, gathered information for the Gallup Poll, mowed grass in a cemetery, and helped his pharmacist brother, Nathan.
    [Show full text]