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Morris Louis · Kenneth Noland Colourfield Painting (paintings, 1954-63) |
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From 12 March to 28 April, the EL SOURDOG HEX e.V. i.Gr. presents selected works by the artists Morris Louis (born in1912 in Baltimore, Maryland - died in1962 in Washington D.C.) and Kenneth Noland (born in1924 in Asheville, North Carolina), the last generation of the New York School, known as "Color Field Painting". Clement Greenberg (born in1909 in New York - died in1994 in New York), an American art critic, used the term Color Field Painting for the first time in his essay, "American-Type Painting" which was published in the Partisan Review. Here, he described the method of painting used by artists such as B. Newman, A. Reinhardt and M. Rothko. This manner of painting was predominantly represented by American artists, but was also found in Europe. One of the founders of Color Field Painting was Helen Frankenthaler (born in New York in 1928). Influenced by Frankenthaler´s "soak-stain technique", (a method in which diluted paint was poured onto unprimed canvas, spread on the floor), both of the artists above experimented with highly diluted acrylic paint, absorbed by the unprimed canvas. The application of the paint cannot be recognised any more; the paint has become one with the canvas. "Though Morris Louis is a painter of colour, due to their design, his paintings have a special relationship to their surroundings. The infinite area of these paintings is only really comprehensible, if they are limited by the actual space of the surrounding room. "The walls, the ceiling and the floor help to give the pictures the right scale and put the observer into the centre of the picture" states Serge Lemoine in his essay " A reunion with Morris Louis"/Paris 1996. "The controlled randomness of the trickling of the paint is taken into account". Kenneth Noland's work concerns geometric abstraction - the question of the centre and the periphery, the depth and the surface of a painting. Noland applied the soak-stain technique predominantly by means of simple symmetrical coloured shapes, from circular, V, and X forms to horizontally striped patterns, used with the aim of articulating the colour, conveying it directly, without influencing it through a shaped form. In his work, the colour and the painting become one.
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