Morris Louis Now: An American Master Revisited
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Morris Louis Now: An American Master Revisited
Morris Louis, Dalet Kaf, 1959. Acrylic resin (Magna) on canvas, 100-5/8 x 143 inches. Collection of the Modern Art Museum of Fort Worth, Museum purchase made possible by a grant from the Burnett Foundation. © 1959 Morris Louis.



ATLANTA, GA.- With an exceptional output of mature work that spanned little more than ten years, Morris Louis played an essential role in shaping post-war American art. Organized by the High Museum of Art, “Morris Louis Now: An American Master Revisited” is the first consideration of Louis’s work in the United States since 1986 and offers a critical re-examination of this influential painter’s legacy. On view at the High through January 24, 2007, this concise survey will travel to the Museum of Contemporary Art San Diego in February 2007.

“Through our permanent collections and special exhibition programming, the High seeks to expose our visitors to a range of different movements, time periods and methods of artistic expression,” said Michael E. Shapiro, the Nancy and Holcombe T. Green, Jr. Director of the High Museum of Art. “From the modern, stained canvases created by Morris Louis to the art of 18th-century kings exhibited in ‘Louvre Atlanta,’ a visit to the High this fall offers a truly diverse and unique experience.”

Featuring approximately 30 canvases produced from 1951 through 1962, “Morris Louis Now” examines the work that defined Louis’ career and that contributed to a critical turning point in American art. Louis worked in an innovative manner by “staining” the canvas with thinned acrylic pigments, using intense, rich washes of color to create unified compositions. Although he worked in isolation from other artists, Louis’ work is often grouped together with that of Color Field painters from the early 1960s, who were part of a trend that developed alongside Abstract Expressionism.

“There has been a recent increase in critical discussion surrounding the art of the 1950s and 1960s, especially the work of Color Field painters, but no substantive research focused on Louis specifically,” said Jeffrey Grove, Wieland Family Curator of Modern and Contemporary Art at the High Museum. “This exhibition gives new life to the work of Morris Louis and reintroduces our visitors to a unique period in modern American art.”

The exhibition will include examples from three significant bodies of the artist’s work. The “Veils” (1954, 1958–59) are noted for their complex washes of color, which emerge principally as bands at the paintings’ edges and are often compared to natural phenomena such as light, air and water. The “Unfurleds” (1960–61) have streams of intense, opaque pigment that flow inward from the sides over a white background. The “Stripes” (1961–62) series features sequential strips of pure color that create a rainbow effect.










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