Color Field Painting
He returned to his native Baltimore in 1940 and taught privately. In 1948, he pioneered the use of Magna paint - a newly developed oil based acrylic paint made for him by his friends, New York City paintmakers Leonard Bocour and Sam Golden. In 1952, Louis moved to Washington, DC.. Living in Washington, D.C., he was somewhat apart from the New York scene and he was working almost in isolation. During the 1950s he and a group of artists that included Kenneth Noland, Gene Davis, Tom Downing, Howard Mehring and Anne Truitt, among others were central to the development of Color Field painting. The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting. They continued in a tradition of painting exemplified by Jackson Pollock, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, and Ad Reinhardt. Eliminating gestural, compositional drawing in favor of large areas of raw canvas, solid planes of thinned and fluid paint, utilizing an expressive and psychological use of flat, and intense color and allover, repetitive composition. One of Louis's most important series of Color Field paintings were his Unfurleds.
Read more about this topic: Morris Louis
Famous quotes containing the words color, field and/or painting:
“Gradually I regained my usual composure. I reread Pale Fire more carefully. I liked it better when expecting less. And what was that? What was that dim distant music, those vestiges of color in the air? Here and there I discovered in it and especially, especially in the invaluable variants, echoes and spangles of my mind, a long ripplewake of my glory.”
—Vladimir Nabokov (1899–1977)
“In the field of world policy I would dedicate this Nation to the policy of the Good Neighbor—the neighbor who resolutely respects himself and, because he does, respects the rights of others—the neighbor who respects his obligations and respects the sanctity of his agreements in and with a world of neighbors.”
—Franklin D. Roosevelt (1882–1945)
“I have heard that stiff people lose something of their awkwardness under high ceilings, and in spacious halls. I think, sculpture and painting have an effect to teach us manners, and abolish hurry.”
—Ralph Waldo Emerson (1803–1882)