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Morris Louis, Number 99 (1960), Cleveland Museum of Art. Reproducirano v informativne namene; vse pravice so pridržane v rokah upravljavca pravic.

Podrobnosti

Umetnik: Morris Louis originaluniqueart.com/sl/artists/morris-louis_sl/
Datumi rojstva in smrti umetnika: 1912 – 1962
Naslikano: 1960
Material: Acrylic On Canvas
Prvotna velikost: 251 x 361 cm
Gibanje: Color Field Painting Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything.
Na lokaciji: Cleveland Museum of Art originaluniqueart.com/sl/museums/cleveland-museum-of-art-cleveland_sl/
Artistic style: Abstract Expressionism
Influences: Helen Frankenthaler
Notable elements: Stained vertical waves
Subject or theme: Number/Abstraction

Avtorske pravice Ta sklad je še vedno predmet avtorske pravice. Morris Louis je umrl leta 1962; avtorska pravica velja 70 let po smrti umetnika, zato ostaja v veljavi do 2032. Slika je tu prikazana le v izobraževalne namene; pravice ostajajo pri imetniku pravic.

Number 99 — Morris Louis

Dimenzije

Prvotne dimenzije so 251 × 361 cm (višina × širina), prikazane tukaj v primerjavi z odraslo osebo povprečne višine. Preveliko je za prikaz v ustreznem razmerju na tej strani.

Kdaj je bilo to naslikano?

1910
1920
1930
1940
1950
1960

Osenčeno: življenjsko obdobje Morris Louis (1912–1962) ▲ to delo, 1960

Primerjajte z

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

Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.

Več del, ki bi jih postavili ob to: originaluniqueart.com/sl/art/similar/morris-louis-number-99-D3J8KE-en/

Barve

Izmerjeno na podlagi slike

Glavna barva

Brown #a6551f

Shranjena paleta

#A6551F
#302F25
#6D3B21
#A8A092

Paleta barv: Dark Prevladujoča barvna družina na sliki.
Naziv primarne barve: Brown
Intenzivnost: Balanced Stopnja zasičenosti in raznolikost barv, od enotnega, zamegljenega odtisa do številnih živahnih barv.
Kontrast: Gentle V kolikšni meri se barve po svetlini in zasičenosti razlikujejo skozi celotno sliko.
Harmonija: Strong Color Unity Stopnja harmonije barv, od kontrastnih do popolnoma ujednotenih.
Zasvetlina: Shadow Razmera svetloosti in temnine slike v celoti, od globokih senc do svetlih visokih svetlob.
Zasičenost: Clear Color Presence Kolikograščena in močna so barve, od skoraj sivih do popolnoma živahnih.

Number 99 — Morris Louis

Number 99: A Dance of Color in Mid-Century Abstraction

Morris Louis’s “Number 99,” created in 1960, isn't merely a painting; it’s an immersive experience—a meditation on color, space, and the very nature of perception. Born in Baltimore in 1912, Morris Louis was a pivotal figure in the burgeoning Abstract Expressionist movement, forging his own distinctive path through pioneering techniques that would forever alter the landscape of American art. He moved to New York City in 1936, seeking artistic stimulation and exposure, eventually finding himself drawn to the innovative approaches being explored by artists like Helen Frankenthaler, whose “soak-stain” technique—applying thinned paint directly to canvas—proved profoundly influential. Louis’s work, particularly during this period, represents a radical departure from traditional painting methods, embracing spontaneity and chance within a carefully considered framework.

The Veil Technique: A Revelation of Color

At the heart of “Number 99” lies Louis's revolutionary "veil" technique. Rather than meticulously layering paint with brushes, he employed Magna acrylic paint—a newly developed, highly fluid medium created specifically for him by Leo Polk—and allowed it to flow and spread across the canvas almost organically. This process involved pouring the paint onto the surface, manipulating it with sticks or fingers, and letting gravity dictate its course. The result is a mesmerizing interplay of color fields that seem to shimmer and undulate, creating an illusion of depth and movement. The absence of defined edges—a key characteristic of Louis’s work—further enhances this sense of fluidity, blurring the boundaries between form and color. This technique was not about representation; it was about capturing the essence of color itself, its luminosity, and its emotional resonance.

Color Field Painting and the Exploration of Emotion

“Number 99” firmly places Louis within the broader context of Color Field painting—a movement that emerged in the mid-1960s as a reaction against the gestural abstraction of earlier Abstract Expressionists. Artists like Mark Rothko, Barnett Newman, and Clyfford Still sought to evoke profound emotional responses through vast expanses of color, often employing simple geometric forms. Louis’s work shares this ambition but with a distinct emphasis on the dynamic interaction between colors. The vibrant reds, blues, yellows, greens, and purples in “Number 99” don't simply coexist; they engage in a complex dialogue, creating a sense of tension, harmony, and ultimately, an almost meditative stillness. The painting invites viewers to lose themselves within its chromatic depths, experiencing the colors directly without the need for symbolic interpretation.

Historical Context and Legacy: A Cleveland Masterpiece

“Number 99” was created during a period of intense artistic experimentation and social upheaval in America. The Civil Rights Movement, the Vietnam War, and growing anxieties about the future fueled a desire for new forms of expression—forms that could capture the complexities of the modern world. Louis’s work resonated deeply with this spirit of innovation, reflecting both the optimism and uncertainty of the era. Today, “Number 99” resides in The Cleveland Museum of Art, a testament to its enduring significance. Its placement within a public collection underscores its value not only as an artistic masterpiece but also as a vital part of American cultural heritage. Reproductions of this iconic work continue to inspire artists and designers alike, demonstrating Louis’s lasting influence on the world of art.

Size: 251 x 361 cm (98.4 x 142 in)

Date: 1960

Artist: Morris Louis (1912-1962)

Medium: Magna acrylic on canvas

Location: The Cleveland Museum of Art, Cleveland, Ohio

Umetnik

Morris Louis

Rojen v Baltimore, Združene države Amerike

Zgodba o zgodnji mladosti in izobraževanju

Rod: Morris Louis Bernstein, 28. november 1912, Baltimore, Maryland

Starši: Louis Bernstein (prodajalec pohištva) in Cecelia Luckasti Bernstein.

Izobraževanje: Obiskoval javne šole v Baltimoru; Maryland Institute of Fine and Applied Arts (danes MICA), 1929–1932. Diplome ni dokončal.

Zgodnji vplivi so vključevali Eugenea Speicherja in Paula Cézanneja.

Z zgodnjo zanimanje za umetnost je spodbudila njegova družina, kljub omejenim možnostam v Baltimoru.

Razvoj umetnika in ključni vplivi

1930-ta: Za podporo svojemu slikanju je opravljal različna začetna dela (luščenje zelenjave, pranje perila, raziskave za Gallup Poll).

1934–1936: Sodeloval je v projektu muralov Public Works of Art Project pod vodstvom Sama Swerdloffa.

1936–1937: Preselil se je v New York City; v Siqueirosov workshop je eksperimentiral z novimi tehnikami.

Odkriv Magna barve (1948): Ključni trenutek – Louis je pionirsko uvedel uporabo barve Magna, nove oljne akrilne barve, ki sta jo za njega ustvarila Leonard Bocour in Sam Golden. To mu je omogočilo večjo tekočnost in transparentnost v njegovem delu.

Vpliv Helen Frankenthaler: Leta 1953 sta Louis in Kenneth Noland obiskala studio Frankenthalerjeve in bila globoko navdušeni nad njenimi »stain« slikami (predvsem »Mountains and Sea«). To je navdihnilo njun eksperiment z tehnikami litja in premočevanja platna.

Slikanje z motri in inovacije Color Field slikarije

Zrele slike z motri (1954): Značilne so prekrivajoče se, superponirane plasti transparentne barve, ki je bila polita na pripravljeno ali nepred Tremirano platno in v njega vpita.

Tehnika: Izjemno razrednjena barva je bila nanašana na nepredtremirano, neizvlečeno platno, kar je omogočalo njeno tekoče gibanje po nagnjeni površini in ustvarjanje polprozornih barvnih motri. S tem so izginili sledovi čopiča in poudarjena plošnost.

Color Field slikarija: Louis je postal osrednja figura gibanja Color Field, s čimer je poenostavil slikovni prostor in poudaril plošne površine intenzivnih barv. Bil je del gibanja Washington Color School.

Serije in slogi: Poleg slik z motri je raziskoval serije, kot so cvetlične motive, stebri (1960), razvijane forme (1960–61) – ki vključujejo kančke neprozirne barve – ter črtaste slike (1961–62).

Pomembna dosežki in zgodovinski pomen

Pionir Color Field slikarije: Louis je priznan kot ključni inovator v slogu Color Field, skupaj z umetniki, kot sta Kenneth Noland in Helen Frankenthaler.

ЕНИЕ

Vpliv na abstrakni ekspresionizem: Njegovo del je razširilo meje abstraknega ekspresionizma s poudarkom na barvi in plošnosti namesto na gestu ali kompoziciji.

Washington Color School: Pomembno prispevek k temu vplivnemu gibanju, ki je poudarjalo reduktivni pristop k slikarstvu.

Uničenje del: Značilno je, da je Louis med letoma 1955 in 1957 uničil veliko svojih slik, kar odraža kritično samopreverjanje njegove umetnosti.

Dedstvo: Njegov poudarek na barvi, plošnosti in materialnosti barve še vedno vpliva na sodobne umetnike.

Pozna leta in smrt

Louis je neprestano in plodno slikal do svoje smrti.

Smrt: Umrl je 7. septembra 1962 v Washingtonu, D.C., v age 49 let.

Spominska razstava (1963): Kdonje po njegovi smrti je bila v Solomon R. Guggenheim Museum organizirana pomembna razstava.

Retrospektivne razstave: Po njegovi smrti so sledile velike retrospektive v Museum of Fine Arts v Bostonu (1967) in v National Gallery of Art v Washingtonu, D.C. (1976).

Muzej

Cleveland Museum of Art

Na razstavi v Cleveland, Združene države Amerike

A Legacy Forged in Light: Exploring the Cleveland Museum of Art

Nestled within University Circle’s vibrant heart, the Cleveland Museum of Art isn't merely a repository of artistic treasures; it’s an immersive journey through human creativity spanning millennia and continents. From its remarkably accessible free admission policy to its breathtaking architectural evolution—a harmonious blend of neoclassical grandeur, modernist boldness, and contemporary innovation—the CMA offers an experience that transcends the traditional museum visit. Founded on a bedrock of philanthropic vision in 1913, it has consistently championed inclusivity, inviting all to engage with art’s profound power to illuminate our world. The museum's story is inextricably linked to Cleveland itself, reflecting the city’s dynamic growth and its enduring commitment to cultural enrichment.

The Collection’s Breath: Treasures Across Time

The CMA’s narrative extends far beyond these iconic areas. European masterpieces, from the delicate brushstrokes of Monet to the revolutionary canvases of Van Gogh and Picasso, form a cornerstone of its legacy. Contemporary works pulse with vitality, challenging perspectives and reflecting the complexities of our time. Recent exhibitions like “Rose Iron Works,” a powerful exploration of Cleveland’s industrial heritage through the lens of contemporary sculpture, demonstrate the museum's commitment to both historical significance and engaging dialogue. The CMA doesn’t simply display art; it fosters understanding, sparking curiosity and inviting contemplation on its cultural context.

Architectural Echoes: A Conversation Across Time

Its initial 1916 building, a magnificent example of neoclassical design rendered in pristine white Georgian Marble and adorned with Beaux-Arts flourishes, exudes an aura of timeless elegance – a testament to the vision of Hinman Hurlbut, John Huntington, and Horace Kelley. However, the museum’s story doesn't end there. In 1971, Marcel Breuer’s strikingly modern North Wing dramatically countered this classical foundation with its angular granite facade, creating a dynamic dialogue between eras. The most recent transformation, completed in 2013 under Rafael Viñoly, represents a masterful synthesis of past and present. This ambitious project doubled the museum's size, culminating in a breathtaking glass-roofed atrium that floods the interior with natural light, dissolving boundaries and fostering a sense of airy spaciousness. The atrium isn’t simply an expansion; it’s a deliberate orchestration of architectural styles—a visual embodiment of the CMA’s commitment to bridging cultures and time periods through art.

Beyond Walls: Engagement and Inspiration

Notably, Transformer Station, a dynamic center for visual and performing arts located in Cleveland’s vibrant Hingetown neighborhood, extends the CMA’s reach beyond its physical boundaries, showcasing emerging artists and fostering creative dialogue within the city. This commitment to accessibility, education, and community engagement solidifies the museum’s position as a vital force shaping the artistic landscape of Ohio and beyond.

A Foundation Built on Vision: Enduring Support

The CMA's substantial endowment – exceeding $920 million as of 2023 – allows it to maintain its free admission policy and invest in ambitious acquisitions and innovative programming, ensuring that future generations will have access to these invaluable cultural treasures.

Cleveland Museum of Art

Wikipedia - Cleveland Museum of Art

Reynolds Morse Foundation

Additional Research:

Cleveland Museum of Art

Cleveland Museum of Art - Wikipedia

Museum of Contemporary Art Cleveland - Wikipedia

Cleveland - Wikipedia

Preberite več

Avtor Morris Louis originaluniqueart.com/sl/artists/morris-louis_sl/
Muzej Cleveland Museum of Art originaluniqueart.com/sl/museums/cleveland-museum-of-art-cleveland_sl/
Podobna dela Več del za primerjavo originaluniqueart.com/sl/art/similar/morris-louis-number-99-D3J8KE-en/
Predmet Kandinsky's Masterpieces: 25 Paintings That Define Abstract Art originaluniqueart.com/sl/articles/kandinsky-s-masterpieces-25-paintings-that-define-abstract-art-en/
Predmet Absolutni Izrazi: 10 Mojstrin Del, Ki So Definirali Gibanje originaluniqueart.com/sl/articles/absolutni-izrazi-10-mojstrin-del-ki-so-definirali-gibanje-sl/
Predmet Geometrična Abstraktna Umetnost: 10 Mojstrovin za Vaš Dom originaluniqueart.com/sl/articles/geometricna-abstraktna-umetnost-10-mojstrovin-za-vas-dom-com-sl/
Predmet The Soul of Color: A Journey into the Emotional Resonance of Lyrical Abstraction originaluniqueart.com/sl/articles/ti-misc-the-soul-of-color-a-journey-into-the-emotional-resonance-of-lyrical-abstraction-en/

Preverite na spletu

QR koda za dostop do strani za prenos Number 99

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Navodila za citiranje umetniškega dela

MLA: Louis, Morris. Number 99. 1960, Cleveland Museum of Art. https://originaluniqueart.com/sl/art/morris-louis-number-99-D3J8KE-en/
APA: Louis, Morris (1960). Number 99 [Painting]. Cleveland Museum of Art. https://originaluniqueart.com/sl/art/morris-louis-number-99-D3J8KE-en/
Chicago: Morris Louis. Number 99. 1960. Cleveland Museum of Art. https://originaluniqueart.com/sl/art/morris-louis-number-99-D3J8KE-en/
Harvard: Louis, Morris (1960) Number 99. Cleveland Museum of Art. Available at: https://originaluniqueart.com/sl/art/morris-louis-number-99-D3J8KE-en/

Number 99 — Morris Louis

Poglejte rafinirano

Odgovorite z lastnimi besedami. Tukaj ni napačnih odgovorov — so le odgovori, ki jih lahko razložite.

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Katere barve ali oblike ustvarjajo vzdušje — in kakšno je to vzdušje?
Naš katalog to delo uvršča pod: color, abstraction, red. Se strinjate? Bi kaj dodali ali odvzeli?
Oglejte si VAV (1960), ki ste ga že videli v prejšnjih delih tega priročnika. Navedite dve stvari, ki jih deli z tem delom, in eno, ki ga loči od njega.
Color Field Painting: Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything. Kje lahko to opazite v tem delu?

Vaš odgovor

Zapišite kratek odstavek o tem umetniškem delu. Uporabite dejstva iz prejšnjih delov tega priročnika in svoje odgovore zgoraj.

Number 99 — Morris Louis

Kako dobro poznate to umetniško delo?

Za vsako od spodnjih 5 vprašanj izberite en odgovor. Vsako vprašanje ima natanko en pravilni odgovor.

1. What artistic movement is ‘Number 99’ primarily associated with?
- A Cubism
- B Color Field Painting
- C Surrealism
2. Which material did Morris Louis predominantly use to create his ‘Veil’ paintings?
- A Oil Paint
- B Magna Acrylic Paint
- C Watercolor
3. In what year was ‘Number 99’ created?
- A 1958
- B 1960
- C 1962
4. The painting 'Number 99' is housed at:
- A The Metropolitan Museum of Art
- B The Cleveland Museum of Art
- C The Guggenheim Museum
5. Morris Louis was known for his innovative technique of applying paint to canvas in a way that resembled:
- A Layered brushstrokes mimicking traditional landscapes
- B Dripping and staining techniques creating fluid color fields
- C Precise geometric shapes and patterns

Moj rezultat: ____ od 5

Ključ odgovorov za učitelje

To se začne na novi tiskani strani, zato lahko te strani pri kopiranju preprosto izpustite.

1A · 2B · 3B · 4B · 5B