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...most outspoken "experts" on the painting of Morris Louis discuss his work as if it grew in total isolation from artistic influences, and, hence, has no art historical past. They align him with lesser painters (notably Kenneth Noland), they ignore all his romantic emotionality, and they explain him largely in intellectual terms. The quality of feeling in Louis' paintings is undeniable and though the influence of the intellectual approach of Noland and the critic Clement Greenberg is clear, Louis cannot be discussed as part of that movement...

Author: By Jonathan D. Fineberg, | Title: Morris Louis | 4/26/1967 | See Source »

...First prize: Jules Olitski. 44, for his lightly brushed, veil-like Pink Alert. >Second prize: Paul Jenkins, 44, for a cloudlike abstraction, Astral Signal. > Third prize: John McLaughlin, 68, California abstractionist, for No. 14. >Fourth prize: Kenneth Noland, 42, for a hard-edged, blue-banded Pause...

Author: /time Magazine | Title: Awards: Cool at the Corcoran | 3/3/1967 | See Source »

...with Olitski's suffused surfaces of color and Noland's sharp, penetrating angles of color. It there is freedom and movement in the formalized schemes of the three painters, it is a hard-won emerging vitality...

Author: By Robert E. Abrams, | Title: 3 Modern American Painters | 4/30/1965 | See Source »

...Noland's Mach 2 (and all of Stella's pictures) illustrates Fried's second key "formal issue," the growing dependence of the shape of the composition and the shape of the canvas in the surface unity. The edge of the canvas is one of the limits (not boundaries) of the painted chevrons. The dramatic shape of the canvas is not determined by an arbitrary circumference; it is part and parcel of the shapes of the fields of color. Each chevron marks off a parallelogram of different size but of similar proportions. The whole constantly intermingles with the parts...

Author: By Robert E. Abrams, | Title: 3 Modern American Painters | 4/30/1965 | See Source »

Michael Fried's essay deserves the attention of the viewers. It yields a greatly increased sense of what is "going on" in Stella, Noland, and Olitski and how they follow preceding abstract paintings by Jackson Pollock, Barnett Newman, and Morris Louis. The key ideas and the observations contained in Fried's essay reveal the paintings in the show as a fascinating world of color and form...

Author: By Robert E. Abrams, | Title: 3 Modern American Painters | 4/30/1965 | See Source »

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