This is part 2 of a 2-part post on the works of American painter Morris Louis (1912 � 1962). Louis was one of the earliest exponents of Colour Field painting. Living in Washington, D.C., Louis along with Kenneth Noland and other painters formed what is known today as The Washington Colour School. For biographical notes on Morris Louis and further works, see part 1.
All works � The Estate of Morris Louis
In 1973 Pop Artist Roy Lichtenstein painted a tribute to Morris Louis' work:
� Copyright: The presentation of these low resolution jpg files add more than words alone could impart. It is believed that this is fair use and does not infringe copyright. According to section 107 of the United States Copyright Act of 1976: The fair use of a copyrighted work�for purposes such as criticism, comment, news reporting, teaching, scholarship, or research, is not an infringement of copyright. The images are used for non-profit purposes. This factor is noted as relevant by the Act.
All works � The Estate of Morris Louis
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| 1960 Alpha-Pi magna acrylic on canvas 260.4 x 449.6 cm |
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| 1960 Beta Nu magna acrylic on canvas 259.1 x 701 cm |
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| 1960 Beta Upsilon magna acrylic on canvas 260.4 x 618.5 cm |
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| 1960 Delta Kappa magna acrylic on canvas 262.9 x 370.8 cm |
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| 1960 Delta Zeta magna acrylic on canvas 257.8 x 362.6 cm |
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| 1960 Gamma Omnicron magna acrylic on canvas 259.1 x 395 cm |
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| 1960 Gamma Tau magna acrylic on canvas 261 x 422.9 cm |
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| 1960 Pi magna acrylic on canvas 261.6 x 444.5 cm |
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| 1960 Untitled magna acrylic on canvas 264.2 x 307.3 cm |
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| 1960 Untitled magna acrylic on canvas 266.7 x 513.1 cm |
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| 1960 Vav magna acrylic on canvas 260.3 x 359.4 cm |
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| 1960 Where magna acrylic on canvas 252.3 x 361.9 cm |
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| 1960 While series II magna on canvas |
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| 1960-1 Phi magna acrylic on canvas 265 x 362 cm |
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| 1960-61 Alpha Tau magna acrylic on canvas |
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| 1961 Alpha-Phi magna acrylic on canvas 259.1 x 459.7 cm |
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| 1961 Claustral magna acrylic on canvas |
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| 1961 Color Line magna acrylic on canvas 215.2 x 124.8 cm |
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| 1961 Delta Theta magna acrylic on canvas 261 x 416.6 cm |
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| 1961 Number 28 magna acrylic on canvas 91 x 78 in |
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| 1961 Pillar of Delay magna acrylic on canvas 220.3 x 100.3 cm |
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| 1961 Pungent Distances magna acrylic on canvas 231.8 x 150.5 cm |
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| 1961 Theta magna acrylic on canvas 259 x 426.7 cm |
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| 1962 Approach magna acrylic on canvas 83 � x 28 in |
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| 1962 Horizontal VIII magna acrylic on canvas 65.5 x 243 cm |
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| 1962 Hot Half magna acrylic on canvas |
In 1973 Pop Artist Roy Lichtenstein painted a tribute to Morris Louis' work:
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| 1973 Roy Lichtenstein Untitled (Morris Louis Unfurled) |
Morris Louis - part 2
This is part 1 of a 2-part post on the works of American painter Morris Louis (1912 � 1962). Louis was one of the earliest exponents of Colour Field painting. Living in Washington, D.C., Louis along with Kenneth Noland and other painters formed what is known today as The Washington Colour School.
He was born Morris Louis Bernstein in 1912 in Baltimore. From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts on a scholarship, but left shortly before completing the course. He worked at various odd jobs to support himself whilst painting and in 1935 served as president of the Baltimore Artists� Association. From 1936 to 1940 Louis lived in New York where he worked in the easel division of the WPA Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov. He also dropped his last name.
He returned to Baltimore in 1940 and taught privately. In 1948 he started to use Magna acrylic paints. In 1952 he moved to Washington, D.C. There, he taught at the Washington Workshop Center of the Arts and met fellow instructor Kenneth Noland (see my blog post on Noland July 2011) who became a close friend. Louis�s first solo show took place at the Workshop Center Art Gallery in 1953.
In 1953, he and Noland visited Helen Frankenthaler�s New York studio, where they saw and were greatly impressed by her stain painting Mountains and Sea (1952) (see my blog post on Frankenthaler July 2011).
On their return to Washington, Louis and Noland together experimented with various techniques of paint application. In 1954, Louis produced his mature Veil paintings, which were characterized by overlapping, superimposed layers of transparent colour poured onto and stained into sized or un-sized canvas. Here's a later painting showing the scale:
Louis�s first solo show in New York was held at the Martha Jackson Gallery in 1957. He destroyed many of the paintings in this show but resumed work on the Veils in 1958�59. These were followed by Florals and Columns (1960), Unfurleds (1960�61), in which rivulets of more opaque, intense colour flow from both sides of large white fields�and the Stripe paintings (1961�62). Louis died in Washington, D.C., in 1962. A memorial exhibition of his work was held at the Solomon R. Guggenheim Museum, New York, in 1963. Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Collection of Fine Arts, Washington, D.C., in 1976.
All works � The Estate of Morris Louis
� Copyright: The presentation of these low resolution jpg files add more than words alone could impart. It is believed that this is fair use and does not infringe copyright. According to section 107 of the United States Copyright Act of 1976: The fair use of a copyrighted work�for purposes such as criticism, comment, news reporting, teaching, scholarship, or research, is not an infringement of copyright. The images are used for non-profit purposes. This factor is noted as relevant by the Act.
He was born Morris Louis Bernstein in 1912 in Baltimore. From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts on a scholarship, but left shortly before completing the course. He worked at various odd jobs to support himself whilst painting and in 1935 served as president of the Baltimore Artists� Association. From 1936 to 1940 Louis lived in New York where he worked in the easel division of the WPA Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov. He also dropped his last name.
He returned to Baltimore in 1940 and taught privately. In 1948 he started to use Magna acrylic paints. In 1952 he moved to Washington, D.C. There, he taught at the Washington Workshop Center of the Arts and met fellow instructor Kenneth Noland (see my blog post on Noland July 2011) who became a close friend. Louis�s first solo show took place at the Workshop Center Art Gallery in 1953.
In 1953, he and Noland visited Helen Frankenthaler�s New York studio, where they saw and were greatly impressed by her stain painting Mountains and Sea (1952) (see my blog post on Frankenthaler July 2011).
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| Helen Frankenthaler, Mountains and Sea 1952 |
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| 1959 Seal magna acrylic on canvas 101 � x 141 in |
Louis�s first solo show in New York was held at the Martha Jackson Gallery in 1957. He destroyed many of the paintings in this show but resumed work on the Veils in 1958�59. These were followed by Florals and Columns (1960), Unfurleds (1960�61), in which rivulets of more opaque, intense colour flow from both sides of large white fields�and the Stripe paintings (1961�62). Louis died in Washington, D.C., in 1962. A memorial exhibition of his work was held at the Solomon R. Guggenheim Museum, New York, in 1963. Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Collection of Fine Arts, Washington, D.C., in 1976.
All works � The Estate of Morris Louis
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| 1953 Trellis magna acrylic on canvas |
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| 1954 Isis magna acrylic on canvas 80 � x 106 in |
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| 1956 Untitled oil & acrylic on canvas 192.4 x 269.3 cm |
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| 1958 7 Bronze magna acrylic on canvas 224.8 x 320.5 cm |
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| 1958 Aurora magna acrylic on canvas 237 x 444.3 cm |
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| 1958 Broad Turning magna acrylic on canvas 230 x 384 cm |
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| 1958 Dalet Chaf magna acrylic on canvas 92 x 133 � in |
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| 1958 Tet magna acrylic on canvas 241.3 x 388.6 cm |
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| 1958-9 Beth Rash magna acrylic on canvas 98 � x 141 � in |
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| 1959 Ambi IV magna acrylic on canvas 98 x 132 � in |
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| 1959 Beth Chaf magna acrylic on canvas |
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| 1959 Dalet Kaf magna acrylic on canvas 255.6 x 363.2 cm |
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| 1959 Dalet Tet magna acrylic on canvas |
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| 1959 Dalet Zayin magna acrylic on canvas 253.5 x 336.5 cm |
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| 1959 Faces magna acrylic on canvas 231.8 x 345.5 cm |
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| 1959 High magna acrylic on canvas |
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| 1959 Nun magna acrylic on canvas 80 � x 106 in |
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| 1959 Para III magna acrylic on canvas 243.8 x 228.6 cm |
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| 1959 Saf Aleph magna acrylic on canvas 247 x 355.6 cm |
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| 1959 Saf Dalet magna acrylic on canvas |
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| 1959 Saf magna acrylic on canvas 250.2 x 358.1 cm |
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| 1959 Saraband magna acrylic on canvas 256.9 x 378.5 cm |
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| 1959-60 Ambi 1 magna acrylic on canvas 240.98 x 349.89 cm |
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| 1959-60 Floral V magna acrylic on canvas 249.9 x 350 cm |
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| 1959-60 Number 99 magna acrylic on canvas 99 x 142 in |
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| 1959-60 Point of Tranquility magna acrylic on canvas 258.2 x 344.9 cm |
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| 1960 Alpha Epsilon magna acrylic on canvas 269.2 x 589.3 cm |
Morris Louis - part 1
I thought I�d take a look at at some Na�ve art for a change, and the popular works of Ivan Rabuzin (1921 � 2008). Rabuzin was born in the small town of Kljuc Northeast of Zagreb, Croatia, near the Hungarian border. He was the sixth of eleven children, whose father worked as a miner to support his family. After completing four years of primary school, the young Ivan started working the family�s small parcel of land with his older brothers.
During the Second World War Rabuzin studied carpentry in Zagreb and applied his newly learnt skills in the town of Zenum. Later still, after he had started working and was again in Zagreb, he returned to the government trade school to advance his carpentry skills. There he learnt the more developed skills necessary for a Master Carpenter, and the skills associated with drafting furniture drawings. During the evenings Rabuzin followed a course in artistic drawing and was introduced to other painters in the area.
Rabuzin�s interest in painting began in around 1944 and he continued to paint whenever he could find the time in his work schedule and increasingly demanding family life. He got married, moved once again to another town and professional position, this time in a furniture factory, and starting a family.
In 1956 Rabuzin had his first solo exhibition which helped to establish his name as a noteworthy painter and further introduced him to his contemporary painters. By visiting galleries and reading literature on various artists Rabuzin expanded his knowledge of the artistic world, where he had little formal training. He described himself as ignorant about how to paint, however this na�vet� did not stop him and he continued to develop. Rabuzin�s unique style crystallized in the late 1950s and early 1960s during which time his work was introduced to the world art market. He was given solo shows in Paris and Sao Paolo. In 1962 Rabuzin began to paint as a professional gaining popular acclaim over the years. He died in 2008.
Note: I do not have dates and titles for all of the following works:
During the Second World War Rabuzin studied carpentry in Zagreb and applied his newly learnt skills in the town of Zenum. Later still, after he had started working and was again in Zagreb, he returned to the government trade school to advance his carpentry skills. There he learnt the more developed skills necessary for a Master Carpenter, and the skills associated with drafting furniture drawings. During the evenings Rabuzin followed a course in artistic drawing and was introduced to other painters in the area.
Rabuzin�s interest in painting began in around 1944 and he continued to paint whenever he could find the time in his work schedule and increasingly demanding family life. He got married, moved once again to another town and professional position, this time in a furniture factory, and starting a family.
In 1956 Rabuzin had his first solo exhibition which helped to establish his name as a noteworthy painter and further introduced him to his contemporary painters. By visiting galleries and reading literature on various artists Rabuzin expanded his knowledge of the artistic world, where he had little formal training. He described himself as ignorant about how to paint, however this na�vet� did not stop him and he continued to develop. Rabuzin�s unique style crystallized in the late 1950s and early 1960s during which time his work was introduced to the world art market. He was given solo shows in Paris and Sao Paolo. In 1962 Rabuzin began to paint as a professional gaining popular acclaim over the years. He died in 2008.
Note: I do not have dates and titles for all of the following works:
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| 1959 Orehovec Hills |
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| 1968-69 Paysage Onirique |
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| 1970 Case Con Alberi |
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| 1973 Open Sky |
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| 1974 Dry Winter |
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| 1979 My Village |
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Ivan Rabuzin
Langganan:
Postingan
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