Color field
This article possibly contains original research. (September 2023) |
Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."[1]
During the late 1950s and 1960s, color field painters emerged in parts of the United Kingdom, Canada, Australia, and the United States, particularly New York, Washington, D.C., and elsewhere, using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.[2]
Historical roots
The focus of attention in the world of contemporary art began to shift from Paris to New York after World War II and the development of American abstract expressionism. During the late 1940s and early 1950s Clement Greenberg was the first art critic to suggest and identify a dichotomy between differing tendencies within the abstract expressionist canon. Taking issue with Harold Rosenberg (another important champion of abstract expressionism), who wrote of the virtues of action painting in his article "American Action Painters" published in the December 1952 issue of ARTnews,[4] Greenberg observed another tendency toward all-over color or color field in the works of several of the so-called "first generation" abstract expressionists.[5]
Mark Rothko was one of the painters that Greenberg referred to as a color field painter exemplified by Magenta, Black, Green on Orange, although Rothko himself refused to adhere to any label. For Rothko, color was "merely an instrument". In a sense, his best known works – the "multiforms" and his other signature paintings – are, in essence, the same expression, albeit one of purer (or less concrete or definable, depending on the interpretation) means, which is that of the same "basic human emotions", as his earlier surrealistic mythological paintings. What is common among these stylistic innovations is a concern for "tragedy, ecstasy and doom". By 1958, whatever spiritual expression Rothko meant to portray on canvas, it was growing increasingly darker. His bright reds, yellows and oranges of the early 1950s subtly transformed into dark blues, greens, grays and blacks. His final series of paintings from the mid-1960s were gray, and black with white borders, seemingly abstract landscapes of an endless bleak, tundra-like, unknown country.
Rothko, during the mid-1940s, was in the middle of a crucial period of transition, and he had been impressed by Clyfford Still's abstract fields of color, which were influenced in part by the landscapes of Still's native North Dakota. In 1947, during a subsequent semester teaching at the California School of Fine Art (known today as the San Francisco Art Institute), Rothko and Still flirted with the idea of founding their own curriculum or school. Still was considered one of the foremost color field painters – his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces. His jagged flashes of color give the impression that one layer of color has been "torn" off the painting, revealing the colors underneath, reminiscent of stalactites and primordial caverns. Still's arrangements are irregular, jagged, and pitted with heavy texture and sharp surface contrast as seen above in 1957D1.
Another artist whose best known works relate to both abstract expressionism and to color field painting is Robert Motherwell. Motherwell's style of abstract expressionism, characterized by loose opened fields of painterly surfaces accompanied by loosely drawn and measured lines and shapes, was influenced by both Joan Miró and by Henri Matisse.[6] Motherwell's Elegy to the Spanish Republic No. 110 (1971) is a pioneering work of both abstract expressionism and color field painting. While the Elegy series embodies both tendencies, his Open Series of the late 1960s, 1970s and 1980s places him firmly within the color field camp.[7] In 1970 Motherwell said, "Throughout my life, the 20th-century painter whom I've admired the most has been Matisse",[8] alluding to several of his own series of paintings that reflect Matisse's influence, most notably his Open Series that come closest to classic color field painting.
Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to color field painting in the 1950s and 1960s.[10]
Although Pollock is closely associated with
While Arshile Gorky is considered to be one of the founding fathers of abstract expressionism and a
Having seen Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952. Her most famous painting from that period is Mountains and Sea (as seen below). She is one of the originators of the color field movement that emerged in the late 1950s.[13] Frankenthaler also studied with Hans Hofmann. Hofmann's paintings are a symphony of color as seen in The Gate, 1959–1960. Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative work of both Pablo Picasso and Henri Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Frankenthaler's stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s.[14]
In 1972 then Metropolitan Museum of Art curator Henry Geldzahler said:
Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the first large field pictures in which the stain technique was used, perhaps the first one. Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.[15][16]
Morris Louis's painting Where 1960, was a major innovation that moved abstract expressionist painting forward in a new direction toward color field and
Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings. Some of Noland's major series were called Targets, Chevrons and Stripes. Noland attended the experimental
In 1970 art critic Clement Greenberg said:
I'd place Pollock along with Hofmann and Morris Louis in this country among the very greatest painters of this generation. I actually don't think there was anyone in the same generation in Europe quite to match them. Pollock didn't like Hofmann's paintings. He couldn't make them out. He didn't take the trouble to. And Hofmann didn't like Pollock's allover paintings, nor could most of Pollock's artist friends make head or tail out of them, the things he did from 1947 to '50. But Pollock's paintings live or die in the same context as
Manet's or Ruben's or Michelangelo's paintings. There's no interruption, there's no mutation here. Pollock asked to be tested by the same eye that could see how good Raphael was when he was good or Piero when he was good.[20]
Color field movement
By the late 1950s and early 1960s young artists began to break away stylistically from abstract expressionism; experimenting with new ways of making pictures; and new ways of handling paint and color. In the early 1960s several and various new movements in abstract painting were closely related to each other, and superficially were categorized together; although they turned out to be profoundly different in the long run. Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, hard-edge painting, geometric abstraction, minimalism, and color field.
Gene Davis also was a painter known especially for paintings of vertical stripes of color, like Black Grey Beat, 1964, and he also was a member of the group of abstract painters in Washington, D.C. during the 1960s known as the Washington Color School. The Washington painters were among the most prominent of the mid-century color field painters.
The artists associated with the color field movement during the 1960s were moving away from gesture and
Although color field is associated with Clement Greenberg, Greenberg actually preferred to use the term post-painterly abstraction. In 1964, Clement Greenberg curated an influential exhibition that traveled the country called post-painterly abstraction.[22] The exhibition expanded the definition of color field painting. Color field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. In 2007 curator Karen Wilkin curated an exhibition called Color As Field: American Painting 1950–1975 that traveled to several museums throughout the United States. The exhibition showcased several artists representing two generations of color field painters.[23]
In 1970 painter Jules Olitski said:
I don't know what Color Field painting means. I think it was probably invented by some critic, which is okay, but I don't think the phrase means anything. Color Field painting? I mean, what is color? Painting has to do with a lot of things. Color is among the things it has to do with. It has to do with surface. It has to do with shape, It has to do with feelings which are more difficult to get at.[24]
During the late 1950s and early 1960s Frank Stella was a significant figure in the emergence of minimalism, post-painterly abstraction and color field painting. His shaped canvases of the 1960s like Harran II, 1967, revolutionized abstract painting. One of the most important characteristics of Stella's paintings is his use of repetition. His Black Pin Stripe paintings of 1959 startled and shocked an art world that was unused to seeing monochromatic and repetitive images, painted flat, with almost no inflection. During the early 1960s Stella made several series' of notched Aluminum Paintings and shaped Copper Paintings before making multi-colored and asymmetrical shaped canvases of the late 1960s. Frank Stella's approach and relationship to color field painting was not permanent or central to his creative output; as his work became more and more three-dimensional after 1980.
In the late 1960s Richard Diebenkorn began his Ocean Park series; created during the final 25 years of his career and they are important examples of color field painting. The Ocean Park series exemplified by Ocean Park No.129, connects his earlier abstract expressionist works with Color field painting. During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.
By the mid-1950s, Richard Diebenkorn along with
During the late 1960s
Overview
Color field painting is related to post-painterly abstraction, suprematism, abstract expressionism, hard-edge painting and lyrical abstraction. It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived color field painting as related to but different from action painting.
An important distinction that made color field painting different from abstract expression was the paint handling. The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied.
Color field painting sought to rid art of superfluous rhetoric. Artists like Barnett Newman, Mark Rothko, Clyfford Still, Adolph Gottlieb, Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella, and others often used greatly reduced formats, with drawing essentially simplified to repetitive and regulated systems, basic references to nature, and a highly articulated and psychological use of color. In general these artists eliminated overt recognizable imagery in favor of abstraction. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, these artists wanted to present each painting as one unified, cohesive, monolithic image often within series' of related types.
In distinction to the emotional energy and gestural surface marks and paint handling of abstract expressionists such as Jackson Pollock and Willem de Kooning, color field painting initially appeared to be cool and austere. Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However, color field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural abstract expressionism. Denying connection to abstract expressionism or any other Art Movement Mark Rothko spoke clearly about his paintings in 1956:
I am not an abstractionist ... I am not interested in the relationship of color or form or anything else. ... I'm interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions. ... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point![36]
Stain painting
When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself acted as forcefully and as positively as paint or line or color. In other words, the very ground was part of the medium, so that instead of thinking of it as background or negative space or an empty spot, that area did not need paint because it had paint next to it. The thing was to decide where to leave it and where to fill it and where to say this doesn't need another line or another pail of colors. It's saying it in space.[37]
Spray painting
Few artists used the spray gun technique to create large expanses and fields of color sprayed across their canvases during the 1960s and 1970s. Some painters who effectively used spray painting techniques include Jules Olitski, who was a pioneer in his spray technique that covered his large paintings with layer after layer of different colors, often gradually changing hue and value in subtle progression. Another important innovation was Dan Christensen's use of a spray technique to great effect in loops and ribbons of bright color; sprayed in clear, calligraphic marks across his large-scale paintings. William Pettet, Richard Saba, and Albert Stadler, used the technique to create large-scale fields of multi-colors; while Kenneth Showell sprayed over crumpled canvases and created an illusion of abstract still-life interiors. Most of the spray painters were active especially during the late 1960s and 1970s.
Stripes
Stripes were one of the most popular vehicles for color used by several different color field painters in a variety of different formats. Barnett Newman, Morris Louis, Jack Bush, Gene Davis, Kenneth Noland and David Simpson, all made important Series' of stripe paintings. Although he did not call them stripes but zips Barnett Newman's stripes were mostly vertical, of varying widths and sparingly used. In Simpson and Noland's case their stripe paintings were all mostly horizontal, while Gene Davis painted vertical stripe paintings and Morris Louis mostly painted vertical stripe paintings sometimes called Pillars. Jack Bush tended to do both horizontal and vertical stripe paintings as well as angular ones.
Magna paint
Magna, a special artist use
Acrylic paint
In 1972, former Metropolitan Museum of Art curator Henry Geldzahler said:
Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being. It was as if the new paint demanded a new possibility in painting, and the painters arrived at it. Oil paint, which has a medium that is quite different, which isn't water-based, always leaves a slick of oil, or puddle of oil, around the edge of the color. Acrylic paint stops at its own edge. Color field painting came in at the same time as the invention of this new paint.[42]
Acrylics were first made commercially available in the 1950s as
Soon after the water-based acrylic binders were introduced as house paints, both artists – the first of whom were Mexican muralists – and companies began to explore the potential of the new binders. Acrylic artist paints can be thinned with water and used as washes in the manner of watercolor paints, although the washes are fast and permanent once dry. Water-soluble artist-quality acrylic paints became commercially available in the early 1960s, offered by Liquitex and Bocour under the trade name of Aquatec. Water-soluble Liquitex and Aquatec proved to be ideally suited for stain painting. The staining technique with water-soluble acrylics made diluted colors sink and hold fast into raw canvas. Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Sherron Francis, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water-based acrylics for their new stain, color field paintings.[44]
Legacy: influences and influenced
The painterly legacy of 20th-century painting is a long and intertwined mainstream of influences and complex interrelationships. The use of large opened fields of expressive color applied in generous painterly portions, accompanied by loose drawing (vague linear spots and/or figurative outline) can first be seen in the early 20th-century works of both
It is difficult not to ascribe enormous weight to this experience for the direction his work took from that time on. Two pictures he saw there reverberate in almost every Ocean Park canvas. View of Notre Dame and French Window at Collioure, both painted in 1914, were on view for the first time in the US.[46]
Livingston goes on to say "Diebenkorn must have experienced French Window at Collioure, as an epiphany."[47]
Miró was one of the most influential artists of the 20th century. He pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery. Arshile Gorky openly admired Miró's work and painted Miró-like paintings, before finally discovering his own originality in the early 1940s. During the 1960s Miró painted large (abstract expressionist scale) radiant fields of vigorously brushed paint in blue, in white, and other monochromatic fields of colors; with blurry black orbs and calligraphic stone-like shapes, floating at random. These works resembled the color field paintings of the younger generation. Biographer Jacques Dupin said this about Miró's work of the early 1960s:
These canvases disclose affinities – Miró does not in the least attempt to deny this – with the researches of a new generation of painters. Many of these, Jackson Pollock for one, have acknowledged their debt to Miró. Miró in turn displays lively interest in their work and never misses an opportunity to encourage and support them. Nor does he consider it beneath his dignity to use their discoveries on some occasions.[48]
Taking its example from other European modernists like Miró, the color field movement encompasses several decades from the mid 20th century through the early 21st century. Color field painting actually encompasses three separate but related generations of painters. Commonly used terms to refer to the three separate but related groups are
Painters
The following is a list of color field painters, closely related artists and some of their more important influences:
|
|
|
See also
- Abstract art
- Abstract Imagists
- Concrete art
- Hard-edge painting
- Lyrical abstraction
- Modern art
- Post-painterly abstraction
- Warming stripes (data visualization technique using the color field concept)
- Washington Color School
- Western painting
References
- ^ "Themes in American Art: Abstraction". National Gallery of Art. Archived from the original on June 8, 2011. Retrieved June 11, 2011..
- ^ "Colour Field Painting". Tate. Retrieved May 2, 2014
- ISBN 0-89659-418-1
- ^ Harold Rosenberg Archived 2012-01-14 at the Wayback Machine. National Portrait Gallery, Smithsonian Institution. Retrieved 22 February 2008.
- ^ "Color As Field: American Painting". The New York Times. Retrieved December 7, 2008.
- ISBN 0-89659-418-1
- ^ "Open Series #121". Tate. Retrieved December 7, 2008.
- ISBN 0-89659-418-1
- ^ Barnett Newman
- ^ "Smithsonian Museum Exhibits Color Field Painting", retrieved December 7, 2008
- ^ Hess, Thomas B. (August 16, 1967). "A Descent Into the Mall Storm". New York. p. 66. Retrieved May 6, 2011.
- ^ Pollock #12 1952 at NY State Mall project Archived 2014-03-13 at the Wayback Machine Retrieved May 6, 2011
- ^ "'Color Field' Artists Found a Different Way" Retrieved 3 August 2010
- ^ Fenton, Terry. "Morris Louis Archived 2019-05-18 at the Wayback Machine". sharecom.ca. Retrieved December 8, 2008
- ISBN 0-89659-418-1
- ISBN 0-8109-1179-5
- ^ "Bold Emblems". Time. April 18, 1969. Retrieved February 8, 2008.
- ^ Lempesis, Dimitris. "TRACES:Kenneth Noland". Dream idea machine.
- ^ "Morris Louis". National Gallery of Art.
- ISBN 0-89659-418-1
- ^ a b "Jack Bush". The Art History Archive; Canadian Art. Retrieved December 9, 2008.
- ^ "Clement Greenberg Archived 2018-07-12 at the Wayback Machine". Post-Painterly Abstraction. Retrieved December 8, 2008.
- ^ Smith, Roberta. "Weightless Color, Floating Free". The New York Times. March 7, 2008. Retrieved December 7, 2008.
- ISBN 0-89659-418-1
- ISBN 1-882790-50-2
- ^ a b Peter Schjeldahl Archived June 2, 2012, at the Wayback Machine] comment on John Seery]
- ^ Fenton, Terry. "Jack Bush". sharecom.ca. Retrieved December 9, 2008.
- ISBN 0-520-21257-6
- ISBN 978-0-9677994-2-1. p. 80–83
- ^ [1] Archived 2010-07-03 at the Wayback Machine retrieved June 2, 2010
- ^ Ashton, Dore. "Young Abstract Painters: Right On!". Arts vol. 44, no. 4, February, 1970. 31–35
- ^ Aldrich, Larry. Young Lyrical Painters. Art in America, vol. 57, no. 6, November–December 1969. 104–113
- ^ Color Fields, Deutsche Guggenheim Archived 2010-11-20 at the Wayback Machine Retrieved November 26, 2010
- ISBN 1-882790-50-2
- ^ Ratcliff, Carter. The New Informalists, Art News, v. 68, n. 8, December 1969, p.72.
- ^ Rodman, Selden. Conversations with Artists, 1957. Later published in "Notes from a conversation with Selden Rodman, 1956" in Writings on Art: Mark Rothko 2006, edited by López-Remiro, Miguel.
- ISBN 0-89659-418-1
- ^ Henry, Walter. palimpsest.stanford.edu – Technical Exchange Archived October 12, 2008, at the Wayback Machine. Stanford University, Volume 11, Number 2, May 1989, 11–14. Retrieved December 8, 2007.
- ^ Fenton, Terry. "Appreciating Noland Archived 2021-01-21 at the Wayback Machine". Retrieved April 30th, 2007.
- ^ Number 182, Phillips Collection, Washington, DC., retrieved December 8, 2008 Archived February 28, 2009, at the Wayback Machine
- ^ Blake Gopnik, "Morris Louis: A Painter Of a Different Stripe". The Washington Post, retrieved December 8, 2008
- ISBN 0-89659-418-1
- ^ Terry Fenton online essay Archived 2021-01-21 at the Wayback Machine about Kenneth Noland, and acrylic paint, accessed April 30th, 2007
- ^ Junker, Howard. The New Art: It's Way, Way Out, Newsweek, July 29, 1968, pp.3, 55–63.
- ^ MoMA, retrieved December 18, 2008
- ^ ISBN 0-520-21257-6
- ISBN 0-520-21257-6,
- ^ Dupin, Jacques. Joan Miró Life and Work. New York City: Harry N. Abrams, 1962. 481
- ^ "White Cube: Anselm Kiefer". White Cube. Retrieved December 15, 2008.
Sources
- Greenberg, Clement. Art and Culture, Beacon Press, 1961
- Greenberg, Clement. Late Writings, edited by Robert C. Morgan, St. Paul: University of Minnesota Press, 2003.
- Greenberg, Clement. Homemade Esthetics: Observations on Art and Taste. Oxford University Press, 1999.
- Kleiner, Fred S.; and Mamiya, Christin J., Gardner's Art Through the Ages (2004). Volume II. Wadsworth Publishing. ISBN 0-534-64091-5.
- Schwabsky, Barry. "Irreplaceable Hue – Color Field Painting". ArtForum 1994. Look Smart 20 April 2007.
- Color As Field: American Painting, 1950–1975, retrieved December 7, 2008
- ISBN 978-0-300-12023-3
- Livingston, Jane. The Art of Richard Diebenkorn, with essays by ISBN 0-520-21257-6
- De Antonio, Emile and Tuchman, Mitchell. Painters Painting A Candid History of The Modern Art Scene, 1940–1970, ISBN 0-89659-418-1
- Jacques Dupin, Harry N. Abrams, Inc., Publisher, New York City, 1962, Library of Congress Catalog Card Number: 62-19132
- Various authors: ISBN 0-911919-05-8
- Cynthia Goodman. ISBN 0-87427-070-7
- ISBN 0-06-438505-1
- Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp. 104–113.
- Peter Schjeldahl. New Abstract Painting: A Variety of Feelings, Exhibition review, "Continuing Abstraction", The Whitney Downtown Branch, 55 Water St. NYC. The New York Times, October 13, 1974.
- Kertess, Klaus. Peter Young Paintings 1963–1980. Parc Foundation. ISBN 978-1-931885-68-3
- Kertess, Klaus. The Nature of Paint, Ronnie Landfield:Forty Years of Color Abstraction, Exhibition Catalog, ISBN 978-0-9820841-2-0
- Carmean, E.A. Toward Color and Field, Exhibition Catalogue, Houston Museum of Fine Arts, 1971.
- Carmean, E.A. Helen Frankenthaler A Paintings Retrospective, Exhibition Catalog, ISBN 0-8109-1179-5
- Henning, Edward B. Color & Field, Art International May 1971: 46–50.
- Tucker, Marcia. The Structure of Color, New York: Whitney Museum of American Art, NYC, 1971.
- Robbins, Daniel. Larry Poons: Creation of the Complex Surface, Exhibition Catalogue, Salander/O'Reilly Galleries, pp. 9–19, 1990.
- Harry N. Abrams, Library of Congress Number: 79-82872
External links
- Mark Jenkins, Revisiting Morris Louis's Lighter Touch retrieved December 8, 2008, Washington Post Review of the Morris Louis retrospective at the Hirshhorn Museum and Sculpture Garden September 2007.
- Washington Post online gallery of Morris Louis paintings
- Kreeger Museum; an expanded exhibition which also involved several museums and galleries in Washington DC and surrounding areas
- Art Style: Color Field Painting – Movement Overview on The Art Story Foundation