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Morris Louis and Morris Louis Estate papers

Archives of American Art

Object Details

Artist
Louis, Morris, 1912-1962
Names
André Emmerich Gallery
Hirshhorn Museum and Sculpture Garden
Robert Pierce/Films, Inc.
Bocour, Leonard, 1910-1993
Brenner, Marcella, 1912-2007
Faatz, Anita J. (Anita Josephine)
Frankenthaler, Helen, 1928-2011
Greenberg, Clement, 1909-1994
Noland, Kenneth, 1924-2010
Truitt, Anne, 1921-2004
Occupation
Painters -- United States
Topic
Transcripts
Washington Color School (Group of artists)
Law and art -- United States
Color-field painting
Art -- Study and teaching
Art, Modern -- 20th century
Abstract expressionism
Provenance
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Artist
Louis, Morris, 1912-1962
See more items in
Morris Louis and Morris Louis Estate papers
Sponsor
Partial funding for the processing of this collection was provided by the Marcella Brenner Revocable Trust.
Summary
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Biographical / Historical
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School. Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939. In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career. In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris. Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death. Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Extent
17.8 Linear feet
Date
circa 1910s-2007
bulk 1965-2000
Archival Repository
Archives of American Art
Identifier
AAA.louimorr
Type
Collection descriptions
Archival materials
Video recordings
Sound recordings
Interviews
Photographs
Citation
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Arrangement
This collection is arranged as 2 series. Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3) Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Processing Information
Portions of the collection were initially processed by Jean Fitzgerald and microfilmed on reels 4988-4944 with funding provided by grants from Jack Amsterdam, the Bezalel Foundation, Inc. (Henry Sonneborn III), Ms. Miriam Klein, Philip L. Milstein, Norman M. Morris, and Solomon Star, Esq. Later additions to the collection were sorted, integrated with earlier accretions, and processed by Jennifer Snyder and Anna Rimel in 2013-2014 with support provided by the Marcella Brenner Revocable Trust. A finding aid was completed in 2014-2015 by Anna Rimel and Barbara Aikens.
Rights
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Existence and Location of Copies
Portions of the collection are available on 35 mm microfilm reels 4988-4994 at the Archives of American Art offices and through interlibrary loan. Researchers should note that the arrangement of the material described in the container inventory does not reflect the arrangement of the collection on microfilm.
Genre/Form
Video recordings
Sound recordings
Interviews
Photographs
Scope and Contents
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz. Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family. The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales. Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
Restrictions
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Related Materials
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
Related link
Record ID
ebl-1503511449825-1503511449842-0
Metadata Usage
CC0
GUID
https://n2t.net/ark:/65665/mw9ecc509be-66ed-4df5-9632-537bc9cf40ed

In the Collection

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  • Receipts, Fezande and Sperrle, Inc.

  • Gallery Installation, Riva Yares Gallery, California

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Charles Schucker (Tapes 34-36)

  • "Morris Louis" Project, Interview Transcript, Cornelia Noland Reis

  • Biographical Material

  • "Morris Louis: Radiant Zones," Project Documentation

  • "Morris Louis Now," High Museum

  • Exhibition Catalogs

  • Gallery Installation, Andre Emmerich Gallery, "Exhibition in Honor of the Catalogue Raisonne"

  • Inventory Files, Nos. 1-90-2-06

  • Photographs of Andre Emmerich in Milan

  • Inventory Files, Nos. 2-23-2-35

  • Gallery Installation, Andre Emmerich Gallery, "Drawings"

  • Inventory Files, Nos. 2-59-2-74

  • Hirshhorn Museum & Sculpture Garden, "Morris Louis" Film Screening

  • Inventory Files, Nos. 2-87-2-99

  • General Correspondence

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Joe Helman (Tapes 21-23)

  • Catalogue Raisonne Project Files

  • Andre Emmerich Gallery

  • Interview/Program Transcript, Clement Greenberg, Marcella Brenner, Helen Jacobson, Helen Frankenthaler, and Kenneth Noland

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Rubin Lawrence (Tapes 17-19)

  • Typescript, Sybil Myersburg "Morris Louis: A Memoir"

  • Inventory Files, Nos. 1-73-1-89

  • Gallery Installation, Musee D'Art Moderne, Saint Etienne

  • Notes

  • Bonds

  • "Morris Louis" Project, Interview Transcript, Andre Emmerich

  • Annie Siegel Interview (transcript)

  • Inventory Files, Nos. 36-50

  • Settlement Contract, Bernstein v. Brenner

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Nick Wilder (Tapes 1-4)

  • Ann Spiegel Interview

  • Project Documentation

  • "Morris Louis" Project, Interview Transcript, Pat Lipsky

  • Interview Transcript, Marcella Brenner

  • Connor Contemporary Art

  • Leonard Bocour and Clement Greenberg Interviews

  • Oversized Museum of Modern Art, Shiga, Japan, removed from Box 6, Folder 33

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Marcella Brenner (Tapes 57-58)

  • Artifacts

  • Gallery Installation, Andre Emmerich Gallery, "Solid Columns"

  • Condolence Cards to Marcella Brenner

  • Essay Drafts, Helen Jacobson "As I Remember Morris Louis"

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, Gifford & Joann Phillips (Tapes 44-47)

  • Notebooks

  • Gallery Installation, Andre Emmerich Gallery, "A Commemorative Exhibition"

  • Receipts, George F. Muth Co.

  • Gallery Installation, Andre Emmerich Gallery, "Veils"

  • Taxes, D.C. Estate Tax

  • Cleveland Museum

  • "Morris Louis: Radiant Zones" Project, Interview Transcript, John Elderfield (Tapes 24-29)

  • Receipts, Health Care

  • Corcoran Gallery of Art

  • Australian National Gallery

  • Banking Records

  • Embossing Stamp

  • Exhibition Catalogs

  • Betty Carter Interview (transcript)

  • Inventory Files, Nos. 5-27-5-39

  • Inventory Files, Nos. 5-71 Missing Painting

  • Andre Emmerich Interview

  • Inventory Files, Nos. 5-40-5-69

  • Inventory Files, Nos. 5-72-5-81

  • Photographs of Marcella Brenner

  • Inventory Files, Nos. 5-07-5-26

  • Baltimore Museum of Art

  • WETA-TV Documentary on Morris Louis

  • Inventory Files, Nos. 1-45-1-55

  • Inventory Files, Nos. 3-24-3-36

  • Oversized Andre Emmerich Gallery, removed from Box 5, Folder 3

  • Israel Museum

  • Photographs

  • Whitney Museum of American Art

  • Art Records and Inventories

  • Marcella and Abner Brenner Interviews

  • Correspondence, Pre-1954 Paintings, Previously Unknown Works

  • Louisiana Museum of Modern Art

  • "Morris Louis Now," Hirshhorn Museum

  • Inventory Files, Nos. 66-77

  • Inventory Files, Nos. 1-18

  • Denver Art Museum

  • Gallery Installation, Andre Emmerich Gallery, "Veils"

  • Exhibition Catalogs: Galerie Lawrence

  • Andre Emmerich Gallery

  • Taxes, Estate Tax

  • Morris Louis & Marcella Brenner Photographs

  • Receipts, Bocour Paint

  • Trial Notes, Bernstein v. Brenner

  • Walker Art Center, Minneapolis

  • Riva Yares Gallery

  • Printed Material

  • Auckland City Art Gallery

  • Exhibition Events & Announcements

  • Oversized Bezalel Academy of Art & Design, Morris Louis Gallery, removed from Box 5, Folder 28

  • Inventory Files, Titles Only, A-Z

  • Notebook 5 and Address Book

  • Notebook 2

  • Galerie Neufville

  • Exhibition Catalogs: "Art Since 1950"

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"Morris Louis: Radiant Zones" Project, Interview Transcript, Leonard Bocour (Tapes 30-33)
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