Student Artwork Guide

Name Class Date

Morris Louis, Beth Rash (1959). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist: Morris Louis originaluniqueart.com/en/artists/morris-louis/
Artist’s dates: 1912 – 1962
Painted: 1959
Movement: Abstract Expressionism Large canvases where the act of painting itself — the drip, the sweep — is the subject.

Copyright This work is still under copyright. Morris Louis died in 1962; copyright lasts 70 years after the artist’s death, so it remains in force until 2032. The image is shown here for classroom reference; rights remain with the rights holder.

Beth Rash — Morris Louis

When was this painted?

1910
1920
1930
1940
1950
1960

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 50 at death.

Painted when the artist was 47. The artist lived to 50. 14 of the 89 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Morris Louis (1912–1962) ▲ this work, 1959 every dated painting, decade by decade

First works: up to 1959 Main working years: 1959–1961 Late works: from 1961

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

VAV, 1960 originaluniqueart.com/en/art/morris-louis-vav-D2DNHZ-en/
Ambi I, 1960 originaluniqueart.com/en/art/morris-louis-ambi-i-D2DNJ7-en/
Seal, 1959 originaluniqueart.com/en/art/morris-louis-seal-D3J8DT-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/morris-louis-beth-rash-D3J8EX-en/

Colours

Measured from the image

Main colour

Black #100e14

Catalogued palette

#100E14
#A3968A
#ECE9E5
#31242A

These colours inside the artist’s whole palette Find other paintings by colour

Main colour name: Black
Intensity: Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
Contrast: Statement How much the colours differ in lightness and saturation across the picture.
Harmony: Discordant Palette How well the colours work together, from clashing to fully unified.
Brightness: Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
Saturation: Muted How pure and strong the colours are, from near-grey to fully vivid.

Where in the world is this painting looked at?

under 1%
1–3%
3–8%
8–20%
20% and over

This painting alone has too few recorded visitors to map, so the plate reads every work by Morris Louis over the last twelve months — 5 countries in all. Where these figures come from

The ten leading countries

1 China 80.0%
2 Italy 6.7%
3 United States of America 6.7%
4 Japan 3.3%
5 Türkiye 3.3%

Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

The 20 most looked-at works by Morris Louis

1 Saraband, 1959 7.5%
2 Para III, 1959 7.5%
3 Where, 1960 5.0%
4 Broad Turning, 1958 5.0%
5 1-33, 1962 5.0%
6 Number 6, 1962 5.0%
7 Gamma Tau, 1960 5.0%
8 Dalet Kaf, 1959 5.0%
9 Alpha-Pi, 1960 5.0%
10 Number 99, 1960 5.0%
11 Gamma Lambda 2.5%
12 Number 2-07, 1961 2.5%
13 Approach, 1962 2.5%
14 Blue Veil, 1958 2.5%
15 Dalet Tet, 1959 2.5%
16 K S I, 1959 2.5%
17 Saf Aleph, 1959 2.5%
18 Number 1-68, 1962 2.5%
19 Number 1-81, 1961 2.5%
— Beth Rash, 1959 this painting 0.0%

Together these works take 77.5% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 92 works by this artist, of which 28 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

Artist

Morris Louis

Born in Baltimore, United States of America

Early Life and Education

Born: Morris Louis Bernstein, November 28, 1912, Baltimore, Maryland

Parents: Louis Bernstein (furniture salesman) and Cecelia Luckman Bernstein.

Education: Attended public schools in Baltimore; Maryland Institute of Fine and Applied Arts (now MICA), 1929-1932. Did not complete a degree.

Early influences included Eugene Speicher and Paul Cézanne.

Showed an early interest in art, encouraged by his family despite limited opportunities in Baltimore.

Development as an Artist & Key Influences

1930s: Worked various odd jobs to support himself while painting (vegetable peeling, laundry work, Gallup Poll research).

1934-1936: Participated in the Public Works of Art Project mural project under Sam Swerdloff.

1936-1937: Moved to New York City; experimented with techniques at the Siqueiros Workshop.

Magna Paint Discovery (1948): A pivotal moment – Louis pioneered the use of Magna paint, a newly developed oil-based acrylic paint created for him by Leonard Bocour and Sam Golden. This allowed for greater fluidity and transparency in his work.

Influence of Helen Frankenthaler: In 1953, Louis and Kenneth Noland visited Frankenthaler's studio and were deeply impressed by her stain paintings (particularly "Mountains and Sea"). This inspired their experimentation with pouring and staining techniques.

The Veil Paintings & Color Field Innovations

Mature Veil Paintings (1954): Characterized by overlapping, superimposed layers of transparent color poured onto and stained into sized or unsized canvas.

Technique: Extremely diluted paint was applied to an unprimed, unstretched canvas, allowing it to flow over the inclined surface, creating translucent color veils. This eliminated brushstrokes and emphasized flatness.

Color Field Painting: Louis became a central figure in Color Field painting, simplifying pictorial space and emphasizing flat planes of intense color. He was part of the Washington Color School movement.

Series & Styles: Beyond the Veil paintings, he explored series like florals, columns (1960), unfurleds (1960-61) – featuring rivulets of opaque color – and stripe paintings (1961-62).

Major Achievements & Historical Significance

Pioneering Color Field Painting: Louis is recognized as a key innovator in Color Field painting, alongside artists like Kenneth Noland and Helen Frankenthaler.

Influence on Abstract Expressionism: His work expanded the boundaries of Abstract Expressionism by focusing on color and flatness rather than gesture or composition.

Washington Color School: A significant contributor to this influential movement, which emphasized a reductive approach to painting.

Destruction of Works: Notably, Louis destroyed many of his paintings between 1955 and 1957, reflecting a critical self-assessment of his work.

Legacy: His emphasis on color, flatness, and the materiality of paint continues to influence contemporary artists.

Later Years & Death

Louis continued painting prolifically until his death.

Death: Died September 7, 1962, in Washington, D.C., at the age of 49.

Memorial Exhibition (1963): A significant exhibition was held at the Solomon R. Guggenheim Museum shortly after his death.

Retrospective Exhibitions: Major retrospectives followed at the Museum of Fine Arts, Boston (1967), and the National Gallery of Art, Washington, D.C. (1976).

Where to read more

The artist Morris Louis originaluniqueart.com/en/artists/morris-louis/
Similar works More works to compare originaluniqueart.com/en/art/similar/morris-louis-beth-rash-D3J8EX-en/

Find this online

QR code linking to the download page for Beth Rash

originaluniqueart.com/en/art/download/morris-louis-beth-rash-D3J8EX-en/

Cite this artwork

MLA: Louis, Morris. Beth Rash. 1959, https://originaluniqueart.com/en/art/morris-louis-beth-rash-D3J8EX-en/
APA: Louis, Morris (1959). Beth Rash [Painting]. https://originaluniqueart.com/en/art/morris-louis-beth-rash-D3J8EX-en/
Chicago: Morris Louis. Beth Rash. 1959. https://originaluniqueart.com/en/art/morris-louis-beth-rash-D3J8EX-en/
Harvard: Louis, Morris (1959) Beth Rash. Available at: https://originaluniqueart.com/en/art/morris-louis-beth-rash-D3J8EX-en/

Beth Rash — Morris Louis

Look closely

Answer in your own words. There are no wrong answers here — only answers you can explain.

What catches your eye first, and why?
Which colours or shapes create the mood — and what is that mood?
Look back at VAV (1960), earlier in this guide. Name two things it shares with this work, and one that is different.
Abstract Expressionism: Large canvases where the act of painting itself — the drip, the sweep — is the subject. Where can you see that in this work?
Morris Louis was about 47 when this was made. What in it looks like the work of an artist at that stage?

Your response

Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

Questions & Answers

How do I preview a reproduction of "Beth Rash" by Morris Louis?

A preview of "Beth Rash" by Morris Louis is available on the artwork's Preview page.

What orientation does "Beth Rash" by Morris Louis have?

"Beth Rash" by Morris Louis is a landscape composition. The proportions are worth checking before choosing a print size.

Is "Beth Rash" free of copyright?

Regarding copyright, "Beth Rash" is still protected by copyright.