Paper

Student Artwork Guide

Number 2-07

Morris Louis, 1961

Name Class Date
Morris Louis, Number 2-07 (1961). 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
1961
Medium
Acrylic On Canvas
Original size
239 x 177 cm
Movement
Color Field Painting Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything.
Artistic style
Abstract Expressionist
Influences
Helen Frankenthaler, Kenneth Noland
Notable elements or techniques
Staining technique; Gravity manipulation

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.

Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

Number 2-07 — Morris Louis Part 1 · The artwork

In context

Number 2-07 — Morris Louis

How big is it?

The original measures 239 × 177 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 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 49. The artist lived to 50. 53 of the 89 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Morris Louis (1912–1962) ▲ this work, 1961 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-number-2-07-D3J8SY-en/

Colours

Measured from the image

    Main colour

    White #f3f2ed

    Catalogued palette

    • #F3F2ED
    • #1C3531
    • #B55837
    • #663E27

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

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    White
    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
    Brilliant 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. 1 China 80.0%
    2. 2 Italy 6.7%
    3. 3 United States of America 6.7%
    4. 4 Japan 3.3%
    5. 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. 1 Saraband, 1959 7.1%
    2. 2 Para III, 1959 7.1%
    3. 3 Where, 1960 4.8%
    4. 4 Broad Turning, 1958 4.8%
    5. 5 1-33, 1962 4.8%
    6. 6 Number 6, 1962 4.8%
    7. 7 Gamma Tau, 1960 4.8%
    8. 8 Dalet Kaf, 1959 4.8%
    9. 9 Alpha-Pi, 1960 4.8%
    10. 10 Number 99, 1960 4.8%
    11. 11 Gamma Lambda 2.4%
    12. 12 Number 2-07, 1961 this painting 2.4%
    13. 13 Approach, 1962 2.4%
    14. 14 Blue Veil, 1958 2.4%
    15. 15 Dalet Tet, 1959 2.4%
    16. 16 K S I, 1959 2.4%
    17. 17 Saf Aleph, 1959 2.4%
    18. 18 Number 1-68, 1962 2.4%
    19. 19 Ambi II, 1959 2.4%
    20. 20 Number 1-81, 1961 2.4%

    Together these works take 76.6% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 92 works by this artist, of which 30 were looked at at least once. This painting ranks 12 of them, with 2.4% of that attention. 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.

    Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

    Number 2-07 — Morris Louis Part 2 · In context

    About this artwork

    Number 2-07 — Morris Louis

    Morris Louis: A Symphony of Color and Gravity

    Morris Louis (1912-1962), a pivotal figure in American Abstract Expressionism, revolutionized painting with his groundbreaking Veil paintings—particularly ‘Number 2-07,’ created in 1961. This monumental canvas transcends mere visual representation, delving into profound explorations of color and process, solidifying Louis’s place as one of the foremost innovators of Color Field painting.

    Composition and Technique: Embracing Fluidity

    ‘Number 2-07’ presents a deceptively simple yet remarkably complex composition. Two dominant vertical columns of overlapping color dominate the canvas, eschewing traditional linear perspective in favor of an immersive experience for the viewer. Louis achieved this mesmerizing effect through his pioneering use of Magna paint—a revolutionary oil-based acrylic resin that allowed him to apply diluted pigment directly onto the canvas surface. This staining technique ensured a seamless integration between color and fabric, resulting in a textural richness that belies its apparent stillness.

    Color Palette and Atmospheric Depth

    The artwork’s vibrant palette—characterized by interwoven bands of orange, green, blue, and red—immediately captivates the eye. However, Louis didn't merely employ color; he orchestrated it to evoke a palpable sense of atmospheric depth. The translucency of each column allows underlying layers to peek through, creating subtle gradations that mimic the diffusion of light through foliage or water – mirroring influences from Cézanne and Speicher. This masterful manipulation of hue contributes significantly to the painting’s contemplative mood.

    Historical Context and Artistic Influences

    Louis emerged during the height of Abstract Expressionism, a movement characterized by artists prioritizing emotion and spontaneity over representational accuracy. He drew inspiration from figures like Helen Frankenthaler and Kenneth Noland, who similarly explored large-scale color fields as vehicles for conveying psychological states. ‘Number 2-07’ stands apart through its deliberate embrace of gravity—the artist carefully controlling the flow of Magna paint to produce cascading streams that solidify into fan-like shapes upon contact with the canvas.

    Symbolic Resonance and Emotional Impact

    Beyond its formal qualities, ‘Number 2-07’ resonates with symbolic undertones. The flowing colors can be interpreted as representing natural phenomena—the ceaseless movement of water or sunlight—inviting viewers to contemplate themes of transformation and serenity. Ultimately, Louis's masterpiece succeeds in capturing a moment of profound stillness amidst the dynamism of artistic experimentation, leaving an indelible mark on the history of modern art.

    Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

    Number 2-07 — Morris Louis Part 3 · About this artwork

    Artist and museum

    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

    Find this online

    QR code linking to the download page for Number 2-07

    originaluniqueart.com/en/art/download/morris-louis-number-2-07-D3J8SY-en/

    Cite this artwork

    MLA
    Louis, Morris. Number 2-07. 1961, https://originaluniqueart.com/en/art/morris-louis-number-2-07-D3J8SY-en/
    APA
    Louis, Morris (1961). Number 2-07 [Painting]. https://originaluniqueart.com/en/art/morris-louis-number-2-07-D3J8SY-en/
    Chicago
    Morris Louis. Number 2-07. 1961. https://originaluniqueart.com/en/art/morris-louis-number-2-07-D3J8SY-en/
    Harvard
    Louis, Morris (1961) Number 2-07. Available at: https://originaluniqueart.com/en/art/morris-louis-number-2-07-D3J8SY-en/

    Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

    Number 2-07 — Morris Louis Part 4 · Artist and museum

    Look closely

    Number 2-07 — Morris Louis

    Look closely

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

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: color, abstraction, fluidity. Do you agree? What would you add, or take away?
    4. Look back at VAV (1960), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Color Field Painting: Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything. Where can you see that in this work?

    Your response

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

    Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

    Number 2-07 — Morris Louis Part 5 · Look closely

    Art quiz

    Number 2-07 — Morris Louis

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Morris Louis’s ‘Number 2-07’ primarily associated with?

      • A Cubism
      • B Impressionism
      • C Color Field Painting

    2. 2. The staining technique employed by Louis in creating 'Number 2-07' involves:

      • A Applying paint thickly with brushes.
      • B Pouring diluted pigment onto the canvas.
      • C Creating detailed sketches before applying color.

    3. 3. 'Number 2-07' utilizes a palette characterized by:

      • A Dominant shades of gray and white.
      • B A monochromatic range of blues.
      • C Layered colors including orange, green, blue, and red.

    4. 4. What is the primary purpose of Louis’s use of gravity in creating ‘Number 2-07’?

      • A To achieve precise geometric shapes.
      • B To create smooth, even surfaces.
      • C To generate flowing bands of color resembling water or light.

    5. 5. Louis’s 'Number 2-07' exemplifies the stylistic similarities found in works by Helen Frankenthaler and Kenneth Noland. What characteristic unites these artists?

      • A They primarily depict portraits.
      • B They utilize miniature canvases.
      • C They prioritize large areas of color to evoke emotional responses.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2B · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Sept. 28, 2026

    Number 2-07 — Morris Louis Part 6 · Art quiz

    Questions & Answers

    What emotion does "Number 2-07" by Morris Louis convey?

    "Number 2-07" by Morris Louis conveys a calm emotional tone.

    Where do the visitors of "Number 2-07" by Morris Louis come from?

    The Stats page of "Number 2-07" by Morris Louis presents public visit statistics: monthly visits of this artwork, a comparison with the artist's most viewed works, and where its visitors come from.

    What national origin stands behind the Color Field Painting of "Number 2-07"?

    "Number 2-07" was created by Morris Louis, born in United States of America, within the Color Field Painting movement. The artist's origin links the work to Color Field Painting as practiced by artists from United States of America.