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StatsNumber 99
Acrylic On Canvas- WallArt
- Color Field Painting
1960
251.0 x 361.0 cm
Cleveland Museum of Art
Experience 'Number 99' by Morris Louis – a vibrant Color Field masterpiece from 1960! Explore layered hues and innovative staining techniques at the Cleveland Museum of Art.
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Explore Morris Louis (1912-1962), a pioneer of Color Field painting! Discover his innovative veil paintings, vibrant hues & lasting impact on abstract art.
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Number 99
Giclée / Art Print
Reproduction Size
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Total Price
$ 70
Number 99: A Dance of Color in Mid-Century Abstraction
Morris Louis’s “Number 99,” created in 1960, isn't merely a painting; it’s an immersive experience—a meditation on color, space, and the very nature of perception. Born in Baltimore in 1912, Morris Louis was a pivotal figure in the burgeoning Abstract Expressionist movement, forging his own distinctive path through pioneering techniques that would forever alter the landscape of American art. He moved to New York City in 1936, seeking artistic stimulation and exposure, eventually finding himself drawn to the innovative approaches being explored by artists like Helen Frankenthaler, whose “soak-stain” technique—applying thinned paint directly to canvas—proved profoundly influential. Louis’s work, particularly during this period, represents a radical departure from traditional painting methods, embracing spontaneity and chance within a carefully considered framework.The Veil Technique: A Revelation of Color
At the heart of “Number 99” lies Louis's revolutionary "veil" technique. Rather than meticulously layering paint with brushes, he employed Magna acrylic paint—a newly developed, highly fluid medium created specifically for him by Leo Polk—and allowed it to flow and spread across the canvas almost organically. This process involved pouring the paint onto the surface, manipulating it with sticks or fingers, and letting gravity dictate its course. The result is a mesmerizing interplay of color fields that seem to shimmer and undulate, creating an illusion of depth and movement. The absence of defined edges—a key characteristic of Louis’s work—further enhances this sense of fluidity, blurring the boundaries between form and color. This technique was not about representation; it was about capturing the essence of color itself, its luminosity, and its emotional resonance.Color Field Painting and the Exploration of Emotion
“Number 99” firmly places Louis within the broader context of Color Field painting—a movement that emerged in the mid-1960s as a reaction against the gestural abstraction of earlier Abstract Expressionists. Artists like Mark Rothko, Barnett Newman, and Clyfford Still sought to evoke profound emotional responses through vast expanses of color, often employing simple geometric forms. Louis’s work shares this ambition but with a distinct emphasis on the dynamic interaction between colors. The vibrant reds, blues, yellows, greens, and purples in “Number 99” don't simply coexist; they engage in a complex dialogue, creating a sense of tension, harmony, and ultimately, an almost meditative stillness. The painting invites viewers to lose themselves within its chromatic depths, experiencing the colors directly without the need for symbolic interpretation.Historical Context and Legacy: A Cleveland Masterpiece
“Number 99” was created during a period of intense artistic experimentation and social upheaval in America. The Civil Rights Movement, the Vietnam War, and growing anxieties about the future fueled a desire for new forms of expression—forms that could capture the complexities of the modern world. Louis’s work resonated deeply with this spirit of innovation, reflecting both the optimism and uncertainty of the era. Today, “Number 99” resides in The Cleveland Museum of Art, a testament to its enduring significance. Its placement within a public collection underscores its value not only as an artistic masterpiece but also as a vital part of American cultural heritage. Reproductions of this iconic work continue to inspire artists and designers alike, demonstrating Louis’s lasting influence on the world of art.- Size: 251 x 361 cm (98.4 x 142 in)
- Date: 1960
- Artist: Morris Louis (1912-1962)
- Medium: Magna acrylic on canvas
- Location: The Cleveland Museum of Art, Cleveland, Ohio
Questions & Answers
What are the medium and date of "Number 99" by Morris Louis?
The medium of "Number 99" by Morris Louis is acrylic on canvas, and the work is dated 1960.
What atmosphere does "Number 99" have?
The overall mood of "Number 99" by Morris Louis is serene. The mood describes the general atmosphere of the work.
Can the image of "Number 99" by Morris Louis be freely reproduced?
The copyright answer for "Number 99" by Morris Louis: the work is still protected by copyright. This determines whether reproductions of the image may be freely made.
When was "Number 99" made?
"Number 99" by Morris Louis was created in 1960.
Is "Number 99" by Morris Louis a painting, a drawing or a print?
"Number 99" is a wall art piece.
Is "Number 99" by Morris Louis in the public domain, and why?
"Number 99" by Morris Louis is still protected by copyright. Copyright terms are measured from the artist's death, and Morris Louis died in 1962.
Can I see an X-ray view of "Number 99" by Morris Louis?
"Number 99" can be examined layer by layer on the artwork's X-Ray page, a viewer inspired by a conservator's light bench with eleven optical readings of the image.
What is the color identity of "Number 99" by Morris Louis?
"Number 99" is defined by a dark palette led by brown (#a6551f).
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
1912 - 1962 , United States of America
Quick Facts
- Full Name: Morris Louis
- Nationality: American
- Date Of Birth: 1912
- Date Of Death: 1962
- Place Of Birth: Baltimore, United States of America
- Notable Artworks:
- High
- Number 1-36
- Where
- Number 1-68
- Gamma Tau
- Third Element
- Delta Theta
- Artistic Movement Or Style: Color Field painting
- Artists Who Influenced This Artist:
- Helen Frankenthaler
- Jackson Pollock
- Cézanne
- Artists Or Movements Influenced By This Artist:
- Kenneth Noland
- Washington Color School
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