Louis Morris 路易斯·莫里斯 (1912-1962) Color Field Abstract Expressionism American скачать в хорошем качестве

Louis Morris 路易斯·莫里斯 (1912-1962) Color Field Abstract Expressionism American

tonykwk39@gmail.com Morris Louis became one of the leading figures of Color Field painting, along with his contemporaries Kenneth Noland and Helen Frankenthaler. In his short yet prolific career, most of which he spent in Baltimore and Washington, D.C., Louis continually experimented with method and medium, manipulating large canvases in creative ways to control the flow and stain of his acrylic paints. His mature style, characterized by layered veils and rivulets of poured acrylic paint on untreated canvases, makes his paintings some of the most iconic works of Color Field painting. In addition to using thinned acrylic paint to stain the weave of his canvas, as colleagues like Helen Frankenthaler and Jules Olitski also did, Louis went so far as to manipulate the canvas itself, folding and bending it to shape the flow of the paint. This innovation allowed him to eliminate his own touch upon the canvas, while still giving him a way to emphasize his medium's inherent fluidity and saturated colors. Louis's paintings of the 1950s established a vital link between Abstract Expressionism and Color Field painting. He rejected the gestural abstraction of action painters like Jackson Pollock and Franz Kline, while also placing more emphasis on tonal relations and free-flowing color. Rather than live in New York City as many of his contemporaries did, Louis based his career in his native Maryland and nearby Washington, D.C. In this way he expanded the geographical boundaries of the contemporary art world in America and brought attention to an offshoot of Color Field painting later termed the Washington Color School. 莫里斯路易斯成為了彩色繪畫領域的領軍人物之一，與他同時代的肯尼思·諾蘭和海倫一起弗蘭肯泰。在他簡短且多產的職業生涯，其中大部分他在巴爾的摩和華盛頓度過，路易不斷地方法和實驗中，操縱創造性的方式來控制他的丙烯顏料的流動性和染色大畫布。他的成熟的風格，其特點是分層的面紗，並在未經處理的畫布潑丙烯酸塗料溪流，使他的畫一些彩色繪畫領域的最具代表性的作品。 除了使用減薄丙烯酸塗料弄髒他的畫布的編織，像海倫弗蘭肯泰和朱奧麗迎斯基同事也做了，路易斯竟操縱畫布本身，折疊和彎曲它來塑造塗料的流動。這一創新使他消除在畫布上自己的手感，同時仍然給他的方式來強調他的媒介固有的流動性和飽和的色彩。 20世紀50年代的路易斯的畫作建立抽象表現主義和彩色繪畫領域之間的重要紐帶。他拒絕了行動像畫家傑克遜·波洛克和弗朗茲·克萊恩的手勢抽象的同時，也更加重視調性關係和自由流動的色彩。 而不是住在紐約市的許多同時代人一樣，路易根據他的職業生涯在他的家鄉馬里蘭州和附近的華盛頓哥倫比亞特區就這樣，他擴大了在美國的當代藝術世界的地理界限並提請注意彩色繪畫領域的一個分支後來被稱為華盛頓顏色學校。