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Approach

Morris Louis' 'Approach' is a vibrant Color Field painting showcasing dynamic vertical bands of color—a captivating exploration of form, light, and space from the influential artist.

Explore Morris Louis (1912-1962), a pioneer of Color Field painting! Discover his innovative veil paintings, vibrant hues & lasting impact on abstract art.

Giclée / Art Print

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Approach

Giclée / Art Print

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Quick Facts

  • Influences:
    • Cézanne
    • Speicher
  • Subject or theme: Color interaction
  • Location: Phillips Collection, DC
  • Notable elements: Vertical bands of color
  • Title: Approach
  • Artistic style: Abstract Expressionism
  • Movement: Color Field Painting

Art Quiz

There is only one correct answer for each question.

Question 1:
What is the primary style of painting represented by ‘Approach’?
Question 2:
Morris Louis's technique in creating 'Approach' involved:
Question 3:
The verticality in ‘Approach’ is most likely intended to evoke which feeling?
Question 4:
In what year was Morris Louis’s ‘Approach’ painted?
Question 5:
What type of paint was primarily used by Morris Louis in creating works like ‘Approach’?

Collectible Description

A Cascade of Color: Unveiling Morris Louis’s “Approach”

Morris Louis's "Approach," painted in 1962, isn’t merely a canvas adorned with color; it’s an invitation to contemplate the very nature of perception and the ephemeral beauty of light. This seminal work from the Washington Color School movement embodies a radical shift in American painting – moving away from representational imagery towards pure abstraction driven by the emotive power of hue and form. Louis, wrestling with the limitations he perceived in traditional painting techniques, sought to dissolve the boundaries between pigment and surface, creating an experience that transcends visual recognition and taps directly into the viewer’s emotional response.

The piece immediately commands attention through its dynamic arrangement of vertically oriented bands – a vibrant tapestry woven from yellows, greens, purples, and subtle hints of blue. These aren't sharply defined lines but rather areas where color bleeds and merges, suggesting movement and fluidity as if the paint itself is in constant motion. The background, rendered in a soft, off-white, acts as a crucial counterpoint, allowing the intensity of the colored bands to truly sing. It’s a deliberate choice that emphasizes the luminosity of the pigments and contributes significantly to the painting's overall sense of spaciousness.

Technique: The Alchemy of Magna Paint

What distinguishes “Approach” is Louis’s innovative use of Magna paint, a revolutionary acrylic medium developed in collaboration with Leo Sebak at Magna Chemical. Unlike traditional oil paints, Magna possessed remarkable fluidity and the ability to spread and stain across the canvas with astonishing ease. This technique – often described as ‘staining’ or ‘pouring’ – allowed Louis to achieve the seamless transitions and delicate gradients that define his work. The absence of visible brushstrokes is deliberate; it reinforces the feeling that the colors are emerging organically from the surface, mimicking the effects of natural light and atmospheric conditions.

The process itself was a carefully orchestrated dance between control and surrender. Louis would apply Magna to the canvas in layers, allowing it to flow and spread according to its own volition. He’d then manipulate the paint with brushes and sponges, subtly guiding its movement while embracing the unpredictable nature of the medium. This combination of deliberate intervention and spontaneous evolution is central to understanding the painting's unique character.

Symbolism and Emotional Resonance

While Louis resisted assigning specific meanings to his paintings, “Approach” undeniably evokes a sense of journey, ascent, or perhaps even a meditative state. The verticality of the bands can be interpreted as a visual metaphor for growth, aspiration, or the passage of time. The fluidity and blending of colors suggest a constant state of transformation – mirroring the ever-changing nature of perception and experience. There’s an inherent vulnerability in the work; the paint seems to hang precariously on the edge of the canvas, inviting the viewer to contemplate the precarious balance between order and chaos.

Furthermore, the painting's color palette—particularly the interplay of warm yellows and cool blues—creates a subtle tension that mirrors the complexities of human emotion. It’s not a painting that shouts for attention; instead, it whispers with quiet intensity, drawing the viewer into a contemplative dialogue.

A Legacy in Color Field Painting

Morris Louis's “Approach” stands as a pivotal work within the broader context of Color Field painting. Alongside artists like Barnett Newman and Helen Frankenthaler, Louis challenged the conventions of representational art and paved the way for a new generation of abstract painters. His pioneering use of Magna paint and his emphasis on color as an independent expressive force profoundly influenced subsequent generations of artists. Today, “Approach” continues to resonate with viewers who appreciate its elegant simplicity, emotional depth, and groundbreaking technical innovation. Reproductions capture much of this essence, offering a beautiful addition to any space.

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Artist Biography

Early Life and Education

  • Born: Morris Louis Bernstein, November 28, 1912, Baltimore, Maryland
  • Parents: Louis Bernstein (furniture salesman) and Cecelia Luckman Bernstein.
  • Education: Attended public schools in Baltimore; Maryland Institute of Fine and Applied Arts (now MICA), 1929-1932. Did not complete a degree.
  • Early influences included Eugene Speicher and Paul Cézanne.
  • Showed an early interest in art, encouraged by his family despite limited opportunities in Baltimore.

Development as an Artist & Key Influences

  • 1930s: Worked various odd jobs to support himself while painting (vegetable peeling, laundry work, Gallup Poll research).
  • 1934-1936: Participated in the Public Works of Art Project mural project under Sam Swerdloff.
  • 1936-1937: Moved to New York City; experimented with techniques at the Siqueiros Workshop.
  • Magna Paint Discovery (1948): A pivotal moment – Louis pioneered the use of Magna paint, a newly developed oil-based acrylic paint created for him by Leonard Bocour and Sam Golden. This allowed for greater fluidity and transparency in his work.
  • Influence of Helen Frankenthaler: In 1953, Louis and Kenneth Noland visited Frankenthaler's studio and were deeply impressed by her stain paintings (particularly "Mountains and Sea"). This inspired their experimentation with pouring and staining techniques.

The Veil Paintings & Color Field Innovations

  • Mature Veil Paintings (1954): Characterized by overlapping, superimposed layers of transparent color poured onto and stained into sized or unsized canvas.
  • Technique: Extremely diluted paint was applied to an unprimed, unstretched canvas, allowing it to flow over the inclined surface, creating translucent color veils. This eliminated brushstrokes and emphasized flatness.
  • Color Field Painting: Louis became a central figure in Color Field painting, simplifying pictorial space and emphasizing flat planes of intense color. He was part of the Washington Color School movement.
  • Series & Styles: Beyond the Veil paintings, he explored series like florals, columns (1960), unfurleds (1960-61) – featuring rivulets of opaque color – and stripe paintings (1961-62).

Major Achievements & Historical Significance

  • Pioneering Color Field Painting: Louis is recognized as a key innovator in Color Field painting, alongside artists like Kenneth Noland and Helen Frankenthaler.
  • Influence on Abstract Expressionism: His work expanded the boundaries of Abstract Expressionism by focusing on color and flatness rather than gesture or composition.
  • Washington Color School: A significant contributor to this influential movement, which emphasized a reductive approach to painting.
  • Destruction of Works: Notably, Louis destroyed many of his paintings between 1955 and 1957, reflecting a critical self-assessment of his work.
  • Legacy: His emphasis on color, flatness, and the materiality of paint continues to influence contemporary artists.

Later Years & Death

  • Louis continued painting prolifically until his death.
  • Death: Died September 7, 1962, in Washington, D.C., at the age of 49.
  • Memorial Exhibition (1963): A significant exhibition was held at the Solomon R. Guggenheim Museum shortly after his death.
  • Retrospective Exhibitions: Major retrospectives followed at the Museum of Fine Arts, Boston (1967), and the National Gallery of Art, Washington, D.C. (1976).
Morris Louis

Morris Louis

1912 - 1962 , United States of America

Quick Facts

  • Artistic Movement Or Style: Color Field painting
  • Artists Or Movements Influenced By This Artist:
    • Kenneth Noland
    • Washington Color School
  • Artists Who Influenced This Artist:
    • Helen Frankenthaler
    • Jackson Pollock
    • Cézanne
  • Date Of Birth: November 28, 1912
  • Date Of Death: September 7, 1962
  • Full Name: Morris Louis
  • Nationality: American
  • Notable Artworks:
    • High
    • Number 1-36
    • Where
    • Number 1-68
    • Gamma Tau
    • Third Element
    • Delta Theta
  • Place Of Birth: Baltimore, United States
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