Age, Biography and Wiki

Morris Louis (Morris Louis Bernstein) was born on 28 November, 1912 in Baltimore, Maryland, is an American painter (1912-1962). Discover Morris Louis's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 49 years old?

Popular As Morris Louis Bernstein
Occupation N/A
Age 49 years old
Zodiac Sign Sagittarius
Born 28 November 1912
Birthday 28 November
Birthplace Baltimore, Maryland
Date of death 7 September, 1962
Died Place Washington, DC.
Nationality United States

We recommend you to check the complete list of Famous People born on 28 November. He is a member of famous painter with the age 49 years old group.

Morris Louis Height, Weight & Measurements

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Morris Louis Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Morris Louis worth at the age of 49 years old? Morris Louis’s income source is mostly from being a successful painter. He is from United States. We have estimated Morris Louis's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
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Timeline

1912

Morris Louis Bernstein (November 28, 1912 – September 7, 1962), known professionally as Morris Louis, was an American painter.

1929

From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts (now Maryland Institute College of Art) on a scholarship, but left shortly before completing the program.

1935

Louis worked at various odd jobs to support himself while painting, and in 1935 was president of the Baltimore Artists' Association.

1936

From 1936 to 1940, he lived in New York City and worked in the easel division of the Works Progress Administration Federal Art Project.

During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov.

He also dropped his last name.

1940

He returned to his native Baltimore in 1940 and taught privately.

1947

He married Marcella Siegel in 1947.

1948

In 1948, he pioneered the use of Magna paint—a newly developed oil-based acrylic paint made for him by his friends, New York paintmakers Leonard Bocour and Sam Golden.

1950

During the 1950s he became one of the earliest exponents of Color Field painting.

While living in Washington, D.C., Louis, along with Kenneth Noland and other Washington painters, formed an art movement that is known today as the Washington Color School.

During the 1950s he and a group of artists that included Kenneth Noland, Gene Davis, Thomas Downing, Howard Mehring, Anne Truitt and Hilda Thorpe among others were central to the development of Color Field painting.

The basic point about Louis's work and that of other Color Field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

They continued in a tradition of painting exemplified by Jackson Pollock, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, and Ad Reinhardt.

Eliminating gestural, compositional drawing in favor of large areas of raw canvas, solid planes of thinned and fluid paint, utilizing an expressive and psychological use of flat, and intense color and allover, repetitive composition.

One of Louis's most important series of Color Field paintings were his Unfurleds.

All of the Color Field artists were concerned with the classic problems of pictorial space and the flatness of the picture plane.

1952

In 1952, Louis moved to Washington, D.C. Living in Washington, D.C., he was somewhat apart from the New York scene and he was working almost in isolation.

1953

In 1953, Louis and Noland visited Helen Frankenthaler's New York studio, where they saw and were greatly impressed by her stain paintings, especially Mountains and Sea (1952).

Upon their return to Washington, Louis and Noland together experimented with various techniques of paint application.

Louis characteristically applied extremely diluted, thinned paint to an unprimed, unstretched canvas, allowing it to flow over the inclined surface in effects sometimes suggestive of translucent color veils.

The importance of Frankenthaler's example in Louis's development of this technique has been noted.

Louis reported that he thought of Frankenthaler as the bridge between Jackson Pollock and the possible.

However, even more so than Frankenthaler, Louis eliminated the brush gesture, although his flat, thin pigment is at times modulated in billowing and subtle tones.

1954

In 1954, Louis produced his mature Veil Paintings, which were characterized by overlapping, superimposed layers of transparent color poured onto and stained into sized or unsized canvas.

The Veil Paintings consist of waves of brilliant, curving color-shapes submerged in translucent washes through which separate colors emerge principally at the edges.

Although subdued, the resulting color is immensely rich.

In another series, the artist used long parallel bands and stripes of pure color arranged side by side in rainbow effects.

The painting Tet is a good example of his Veil Paintings.

The thinned acrylic paint was allowed to stain the canvas, making the pigment at one with the canvas as opposed to "on top".

This conformed to Greenberg's conception of "Modernism" as it made the entire picture plane flat.

1955

Louis destroyed many of his paintings between 1955 and 1957.

1958

He resumed work on the Veils in 1958–59.

1960

These were followed by Florals and Columns (1960), Alephs (1960), Unfurleds (1960–61)—in which rivulets of more opaque, intense color flow from both sides of large white fields of raw canvas—and finally the Stripe paintings (1961–62).

Between summer 1960 and January/February 1961, he created about 150 Unfurleds, generally on mural-size canvases.

1963

A memorial exhibition of Louis' work was held at the Solomon R. Guggenheim Museum in 1963.

1967

Major Louis exhibitions were also organized by the Museum of Fine Arts, Boston, in 1967 and the National Gallery of Art, Washington, D.C., in 1976.

1986

In 1986 there was an important retrospective exhibition of his works at the Museum of Modern Art (MoMA) in New York.

2007

During 2007-2008 an important retrospective was held by museums in San Diego, at the Museum of Contemporary Art, in Atlanta at the High Museum, and in Washington, DC. at the Hirshhorn Museum and Sculpture Garden.

2015

In 2015, a striped canvas by Louis, Number 36 (1962), from the collection of Lord Anthony and Lady Evelyn Jacobs sold for £1.5 million at Christie's London.