Important Art by Morris Louis
Charred Journal: Firewritten V is executed in a traditional Abstract Expressionist style, and its gestural brushwork and all-over composition are influenced by Jackson Pollock's action painting. Although it measures only about two feet wide, this work manages to achieve a remarkable sense of dynamism within a relatively compact space. Its title alludes to the Nazi book burnings in which supposedly subversive literature was destroyed in the 1930s; its pale markings against a raw, dark background evoke a written language set against a threatening void. This canvas predates Louis's exposure to Helen Frankenthaler's stain paintings in 1954, after which he began his mature Color Field work.
The Veil series is named for its thin overlapping "veils" of acrylic Magna paint. This canvas is one of Louis's earliest experimentations with applying thin, quick-drying washes of color to unprimed canvas. The title may evoke the sense of shifting color and light that we are encouraged to perceive in this painting. It is difficult to discern where one color ends and another begins, since, in an effect unique to Magna, the underlying layers are partially dissolved by the successive pours of color, creating a diffused, melting appearance. By permitting this new kind of paint to create unpredictable effects, Louis allowed chance to play a larger role in his art: the medium itself dictated the final result. This was a way of rethinking the artist's degree of control over his own work. Although Breaking Hue does not make any visual reference to the physical world, it is an object with a life of its own.
Dalet Kaf is an example of Louis's later Veil paintings. In order to work within the small confines of his studio, Louis would staple canvas to the walls. Here, the sheer washes of paint cascade down the surface of the canvas, with the brighter colors muted by the "veils" of black that frame the composition. With this inventive method, Louis enlisted gravity as one of his artistic tools, allowing it to aid and shape the flow of the paint. By making his process visible, Louis emphasized the medium's inherent fluidity rather than his own authority over it. The paint itself, rather than representational content or the artist's inner psyche, has become the subject of this work.