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Morris Louis Vintage Post Painterly Abstract Original Washington Color School Early Cubism Style Architectural Post Painterly Abstraction Magna Plastic Acrylic Resin on Cotton Canvas American Post War Modern Art Painting
Morris Louis Vintage Post Painterly Abstract Original Washington Color School Early Cubism Style Architectural Post Painterly Abstraction Magna Plastic Acrylic Resin on Cotton Canvas American Post War Modern Art Painting
Morris Louis Vintage Post Painterly Abstract Original Washington Color School Early Cubism Style Architectural Post Painterly Abstraction Magna Plastic Acrylic Resin on Cotton Canvas American Post War Modern Art Painting
Morris Louis Vintage Post Painterly Abstract Original Washington Color School Early Cubism Style Architectural Post Painterly Abstraction Magna Plastic Acrylic Resin on Cotton Canvas American Post War Modern Art Painting
Pacific Fine Art

Morris Louis Vintage Post Painterly Abstract Original Washington Color School Early Cubism Style Architectural Post Painterly Abstraction Magna Plastic Acrylic Resin on Cotton Canvas American Post War Modern Art Painting

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Vintage original architectural cubist colorfield acrylic painting, by Abstract Expressionist artist, Morris Louis.

Morris Louis was a prominent painter associated with the American Colorfield movement; (born Morris Louis Bernstein). Morris changed his name formally by legal deed in 1938. Morris Louis studied at Maryland Institute of Fine and Applied Arts, Baltimore (1927–32), and assisted in painting a Works Progress Administration (WPA) mural for a public school in Baltimore. From 1936 to 1940 he lived in New York, where he attended the workshops of David Alfaro Siqueiros and became acquainted with the use of commercial enamel paints. A number of his WPA murals and paintings of work and workers show the influence of Max Beckmann. In New York he frequently visited MOMA. He returned to Baltimore in 1940 and in 1952 moved to Washington, DC.
From the 1950s, Louis devoted himself to developing a response to the avant-garde work of Jackson Pollock, Robert Motherwell, Kenneth Noland, Helen Frankenthaler, and other artists of the New York Abstract Expressionist School; abandoning the late Cubist style of his previous work.

Louis achieved this notion of interpenetration of colors by virtually staining the canvas with thinned acrylic paint so that it was difficult to see where one color ended and another began. This technique created a wash-like transparency so that the perception of depth was problematic. The majority of these paintings by the artist, which were executed between June or July 1960 and some time early in 1961. In these paintings an open space of bare canvas in the centre is scored diagonally at the left and right edges with irregular stripes of colors that vanish into diminishing scales at the corner of the canvas. In the final series, the Stripes, for example Third Element (1961; New York MOMA), bunched straight vertical bands of colour, of varying thicknesses, float on a neutral ground like folds of cloth.

Louis was retrospectively named by Clement Greenberg as an exponent of Post-painterly abstraction, (in the exhibition of the same name), held at County Museum of Art, Los Angeles, in 1964. In the following year, Morris Louis was included as one of the Washington color painters in their exhibition (1965; Washington, DC, Gal. Mod. A.).

Morris Louis

Architectural, Colorfield, Abstract, Cubism

The painting is estimated to have been painted in the late 1950s to early 1960s. Paint is a light overall wash in Magna plastic artist acrylic resin paint; with varying levels of paint thickness. Painting's cubist elements show an early point in time for the artist when his forms had a more cubism style. The palette is perfectly reflective of the artist's color techniques. Some of the outlines/thicker lines, and ribboning in the lime color from where the artist squeezed the paint onto the canvas, are identical in form to the ribboning forms in some of his later "Delta" works, and proceeded these works.

35.8"W X 24" H

Signed Lower Right. There is a date, to the right of the signature. Unsure of the date of creation at this point, but possibly 1957. Please review the images.

The painting is in overall good condition; a couple of minor chips the size of pin dots were restored. A very small chip was restored in the upper left part of the sky, and a very light watermark remains. There is some light wear around the corners, where the previous frame came in contact with the painting. Due to the varying levels of paint expressed by the artist, it is difficult to tell if there is any abrasion, but there is a little dirt/wear from age, as would be expected. 

 

 

 

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