《在哪里？》莫里斯·刘易斯(Morris Louis)高清作品欣赏

莫里斯·刘易斯(Morris Louis)高清作品《在哪里？》

作品名：在哪里？

艺术家：莫里斯·刘易斯

年代：1960

风格：色域绘画

类型：抽象

介质：麦格纳,帆布

尺寸：362 x 252 cm

莫里斯·路易斯作品中的标志性作品，“.".”代表以“面纱”系列开始的“主题”的顶峰。在他早期的画作中，纯平颜色的条纹（像一条重新配置的彩虹）被“面纱”所遮蔽，通常是黑色的，有时是半透明的，只在画作的顶部边缘露出来。在稍后的绘画中，比如“Floral V"，面纱”被消除，但在“."”中被完全抑制。这位画家在画布上涂巨型油漆的意图和方法并不完全为人所知（甚至连他的妻子也没见过他画画，因为他在妻子下班回来之前经常画画）。然而，正如艺术评论家克莱门特·格林伯格所建议的，莫里斯·路易斯拒绝了“动作画”的密集表面和混乱的构成，以及罗思科和克莱福德的深色调。一般来说，色彩场画家的表现是使色彩成为他们绘画的主题。然而，当某些画家，如弗兰克·斯特拉和埃尔斯沃斯·凯利喜欢硬边和系统的构图时，莫里斯·路易斯，甚至在他最后的“专栏”和“条纹”画中（使用不混色的，一种进一步减少画家手部参与的策略）也是如此。由于某些“支柱”的活泼结尾，以及通常艺术家所选择的鲜艳的颜色，人们不能完全认为它们是非个人的。格林伯格曾经写过关于路易斯的文章：“他开始感觉、思考和构思几乎完全是以开放的颜色为基础的。”

Title:Where

artist:Morris Louis

Date:1960

Style:Color Field Painting

Genre:abstract

Media:magna,canvas

Dimensions:362 x 252 cm

An iconic work in Morris Louis' oeuvre, "Where" represents the culmination of a "theme" that started with the "Veil" series. The stripes of pure, flat color (like a reconfigured rainbow) were in his earlier paintings hidden by a "veil" of paint, most often black and at times semi-transparent, being revealed only at the top edge of the painting. In slightly later paintings, such as "Floral V", the "veil" beings to be eliminated, only to be completely suppressed in "Where". The artist's intentions and methods of pouring the magna paint on canvas are not entirely known (not even his wife has seen him painting, as he used to paint before her wife returned from work). However, as art critic Clement Greenberg has suggested, Morris Louis, rejecting the dense surfaces and chaotic compositions of "action painting" as well as the dark tones of Rothko and Clyfford Still, preferred "openness" and "clarity". In general, Color Field painters' performance was to make color the very subject of their paintings. However, while certain painters such as Frank Stella and Ellsworth Kelly favored hard edges and systemic compositions, Morris Louis, even in his last "column" and "stripe" paintings (which used unmixed color, a tactic that further decreased the involvement of the painter's hand), couldn't be considered completely impersonal, thanks to the playful ends of some "pillars" and, in general, the vibrant colors the artist has chosen. Greenberg once written about Louis: "He began to feel, think and conceive almost exclusively in terms of open color."