Morris Louis

André Emmerich Gallery, Inc., New York
Mr. and Mrs. Robert B. Mayer, Winnetka (acquired from the above in 1963)
Christie's, New York, May 14, 2008, lot 180
Acquired by the present owner from the above sale

Diane Upright, Morris Louis: The Complete Paintings, New York, 1985, cat. no. 538, pp. 181, illustrated in color

This work is in very good condition overall. The surface is bright, fresh and clean. There is a faint surface abrasion approximately 4/5 of the way towards the bottom of the composition on the right side. Under Ultraviolet light inspection, there are three spots at the top center of the unpainted portion of the canvas which fluoresce darkly and appear to be the result of light retouching. Framed. *Please note the auction begins at 9:30 am on November 14th.*
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"The effect conveys a sense not only of color as somehow, disembodied, and therefore more purely optical, but also of color as a thing that opens and expands the picture plane. The suppression of the difference between painted and unpainted surfaces causes pictorial space to leak through-or rather; to seem about to leak through."  - Clement Greenberg

Belonging to his series of “Stripe” paintings, Number 6 is a magnificent example of Morris Louis's originality, complexity, and technical virtuosity as an artist. An apotheosis and culmination of his earlier work, Number 6, executed in 1962, is not only of the great Color Field paintings, it also points to Louis as a prominent influence on the minimalist movement. Concentrating on the purity of color and form, as an artist Louis was constantly discovering new ways to maintain the separate identities of color and space, as evident in this significant example.

Using a linear stain technique, which had been perfected over time, Louis's series of Stripe paintings practiced positioning parallel bands of color against a pure white field to explore both the vibrant rhythm and intensity of color. In Number 6, Louis creates successive waves of pigment that are thinly poured onto the canvas, which create a stain of color that is visually continuous but for the top most section where it can be seen exactly where he began his pour. 

Louis and Greenberg would have many discussions regarding the composition of these works and whether or not, and if so how, they should be cropped.  The current example clearly shows that Louis was playing with different compositional elements including the cropping at the bottom and the expanse of blank canvas running through the center of the work.  In other works in the series, he would group the stripes all in one unit leaving an expanse of empty space to one side or the other, but the present work illustrates his continued investigation of the central void which is clearly a remnant from his earlier Unfurled series.  However, despite the fact that the image may initially appear to be symmetrical with the blank canvas as the bisecting agent, it is apparent upon closer examination that Louis has in fact created a subtle visual tension in asymmetrically employing his bands of color – five to the viewer's left and four to the right. 

Tragically, Louis’s career was untimely cut short due to lung cancer, most likely a result of his prolific use of turpentine and other resin thinners for his paints.  However, in his brief yet transformative and inspirational career, he left, with works such as the impressive Number 6, an indelible mark on his contemporaries and upon the public’s ability to comprehend a pared down art of minimal components – an art which would flourish in the following decade.