莫里斯·刘易斯(Morris Louis)高清作品《贝丝扎因》

作品名：贝丝扎因

艺术家：莫里斯·刘易斯

年代：1959

风格：色域绘画

类型：抽象

介质：丙烯,帆布

尺寸：252.8 x 361.4 cm

莫里斯·路易斯光彩夺目的面纱的前提是贝丝·扎因为了将画面保持为二维表面，探索了绘画应用的方法。路易斯在1952年和肯尼斯·诺兰德一起参观海伦·弗兰肯特哈尔的工作室时，首先向他透露了一种油漆染色技术。他的结果面纱将解决帆布表面的形式主义关注，作为一个广阔、平坦、非形象的领域。面纱还分享了与杰克逊·波洛克的滴水画相关的基本原理，因为面纱既不依赖于线条、边缘，也不依赖于表示有形事物的轮廓。（米迦勒在Exh里油炸了。）猫，波士顿，美术博物馆，莫里斯·路易斯，1912—1962，1967，第11页）。1954年，在克莱门特·格林伯格（Clement Greenberg）的批评指导下，路易斯的面纱画立即使他成为当时最重要的艺术圈之一。格林伯格宣称在绘画的基本要素中保持形式原则的完整性是首要的。路易斯用他的彩色染色技术，关注油漆、画布和色彩的内在本质，这与格林伯格的教导是一致的，评论家把光谱面纱包括在路易斯在纽约法国安普公司举办的第一次个人展览中。

Title:Beth Zayin

artist:Morris Louis

Date:1959

Style:Color Field Painting

Genre:abstract

Media:acrylic,canvas

Dimensions:252.8 x 361.4 cm

The premise to Morris Louis resplendent veil Beth Zayin was born out of his fastidious methodology that explored methods of paint application in an effort to preserve the picture-plane as a two-dimensional surface. Louis achieved this through an adaptation of a paint staining technique first revealed to him upon a visit to Helen Frankenthalers studio in 1952 with Kenneth Noland. His resultant Veils would address formalist concerns of the canvas surface as an expansive, flat, nonfigural field. The Veils also share in the underlying principles contingent to Jackson Pollocks drip painting, as neither owed recourse to lines, edges, or contours denoting tangible things. (Michael Fried in Exh. Cat., Boston, Museum of Fine Arts, Morris Louis, 1912-1962, 1967, p. 11). In 1954, Louiss Veil paintings would immediately engage him with one of the most significant artistic circles of the time under the critical direction of Clement Greenberg. Greenberg professed the primacy of maintaining the integrity of formal principles in the basic elements of painting. With his color-stain technique, Louiss focus on the inherent nature of paint, canvas and color was in sympathy to Greenbergs teachings, and the critic included the spectral Veils in Louiss first solo exhibition at French Company in New York.