Morris LouisOther(s) author(s) : Elderfield, John, [egile] ; Museum of Modern Art, [argitaratzaile]Language : EnglishNew York : The Museum of Modern Art, 1986191 orrialde : koloretako eta zuri-beltzeko irudiak ; 25 cm(Ikus) Testua: bitartekorik gabeISBN : 0-87070-418-4.Morris Louis
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"Morris Louis" erakusketaren katalogoa. Catálogo de la exposición.
Bibliografia: 189-191 orrialdeetan.
In nine astonishingly prolific years, until his death at age 49 in 1962, Morris Louis created a unique late form of Abstract Expressionism, then radically transformed it in a way that prepared for the reductive art of the 1960s. The resplendently beautiful canvases of his mature period are as compelling and as radical in their abstraction as any work in American art. "At the height of his powers", writes John Elderfield, Louis's art attained a sense of "deliverance through the senses... the condition toward which the best of modern painting has aspired".
A solitary, intensely self-critical man, Louis had by the early 1950s arrived at modest success as a painter and teacher in Washington, D.C. Through his friendships with painter Kenneth Noland and critic Clement Greenberg he came to know the art of Jackson Pollock and Helen Frankenthaler, whose influence on his working methods and, indeed, on his very conception of painting was profound. In 1954 he began, in the words of Greenberg, "to think, feel, and conceive almost exclusively in terms of open color".
In this book Elderfield closely analyzes Louis's major series: the two groups of lyrical Veils of 1954 and 1958-59, the dramatic pictorial solution of the Unfurleds of 1960-61, and the coloristically refined Stripes of 1961-62, as well as transitional pictures. Louis produced effects of incredible delicacy, subtlety and control in an enormous color range by pouring paint onto canvas loosely tacked to a stretcher. Elderfield discusses the character and sources of the technique as well as the structure and implicit content of Louis's art. By the end of his life, Louis had obtained recognition, and his work was regularly exhibited; but hundreds of his canvases were stored in rolls, and most of them the artist himself never saw stretched and hung. [...]