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Number 99

Morris Louis, 1960

Ime Razred Datum
Morris Louis, Number 99 (1960), Cleveland Museum of Art. Reprodukovano u informativne svrhe; sva prava zadržava vlasnik autorskih prava.

Osnovne informacije

Umetnik
Morris Louis artsdot.com/sr/artists/morris-louis_sr/
Podaci o umetniku
1912 – 1962
Slikano
1960
Medijum
Acrylic On Canvas
Originalne dimenzije
251 x 361 cm
Pokret
Color Field Painting Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything.
Mesto održavanja
Cleveland Museum of Art artsdot.com/sr/museums/cleveland-museum-of-art-klivlend_sr/
Artistic style
Abstract Expressionism
Influences
Helen Frankenthaler
Notable elements
Stained vertical waves
Subject or theme
Number/Abstraction

Autorska prava Ovo delo je i dalje zaštićeno autorskim pravima. Morris Louis je preminuo/la 1962; autorska prava traju 70 godina nakon smrti umetnika, pa ostaju na snazi do 2032. Slika je prikazana ovde u edukativne svrhe; prava zadržava vlasnik autorskih prava.

Izvor: ArtsDot.com — pristup dato 28. август 2026.

Number 99 — Morris Louis Deo 1 · Ovo umetničko delo

U kontekstu

Number 99 — Morris Louis

Dimenzije

Originalne dimenzije su 251 × 361 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine. Preveliko je da bi se prikazalo u odgovarajućoj razmeri na ovoj stranici.

Godina nastanka

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960

Osenčeno: životni vek umetnika Morris Louis (1912–1962) ▲ ovo delo, 1960

Slična dela

  • VAV, 1960 artsdot.com/sr/art/morris-louis-vav-D2DNHZ-en/
  • Ambi I, 1960 artsdot.com/sr/art/morris-louis-ambi-i-D2DNJ7-en/
  • Seal, 1959 artsdot.com/sr/art/morris-louis-seal-D3J8DT-en/

Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.

Još dela koja se mogu postaviti pored ovog: artsdot.com/sr/art/similar/morris-louis-number-99-D3J8KE-en/

Paleta boja

Izmereno na osnovu slike

    Glavna boja

    Brown #a6551f

    Katalogizovana paleta

    • #A6551F
    • #302F25
    • #6D3B21
    • #A8A092
    Paleta
    Dark Dominantna grupa boja na slici.
    Naziv glavne boje
    Brown
    Intenzitet
    Balanced Koliko su boje zasićene i raznolike, od jedne prigušene nijanse do mnoštva jarkih tonova.
    Kontrast
    Gentle Razlika u svetlini i zasićenosti boja širom slike.
    Harmonija
    Strong Color Unity Koliko se dobro boje uklapaju, od kontrastnih do potpuno ujedinjenih.
    Osvetljenost
    Shadow Koliko je slika u celini svetla ili tamna, od duboke senke do najsvetlijih tonova.
    Zasićenost
    Clear Color Presence Koliko su boje čiste i snažne, od skoro sivih do potpuno živopisnih.

    Izvor: ArtsDot.com — pristup dato 28. август 2026.

    Number 99 — Morris Louis Deo 2 · U kontekstu

    O ovom umetničkom delu

    Number 99 — Morris Louis

    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

    Izvor: ArtsDot.com — pristup dato 28. август 2026.

    Number 99 — Morris Louis Deo 3 · O ovom delu

    Umetnik i muzej

    Umetnik

    Morris Louis

    Mesto rođenja Baltimore, Sjedinjene Američke Države

    Rani život i obrazovanje

    Rođen: Morris Louis Bernstein, 28. novembra 1912, Baltimore, Maryland

    Roditelji: Louis Bernstein (prodavac nameštaja) i Cecelia Luckutman Bernstein.

    Obrazovanje: Pohađao javne škole u Baltimoru; Maryland Institute of Fine and Applied Arts (sada MICA), 1929-1932. Nije stekao diplomu.

    Rani uticaji uključivali su Eugenea Speicherja i Paula Cézannea.

    Ranije je pokazivao interesovanje za umetnost, uz podršku porodice uprkos ograničenim mogućnostima u Baltimoru.

    Razvoj umetnika i ključni uticaji

    1930-e: Obavljao je razne privremene poslove kako bi se izdržavao dok je slikao (ljuštenje povrća, rad u perionici, istraživanje za Gallup Poll).

    1934-1936: Učestvovao u projektu zidnih slika Public Works of Art Project pod vođstvom Sama Swerdloffa.

    1936-1937: Preselio se u New York City; eksperimentisao sa tehnikama u Siqueiros radionici.

    Otkriće Magna boje (1948): Ključni trenutak – Louis je bio pionir u upotrebi Magna boje, novonastale akrilne boje na bazi ulja koju su za njega kreirali Leonard Bocour i Sam Golden. Ovo mu je omogućilo veću fluidnost i transparentnost u njegovom radu.

    Uticaj Helen Frankenthaler: Godine 1953, Louis i Kenneth Noland posetili su studio Frankenthaler i bili duboko impresionirani njenim slikama tehnikom natapanja (naročito delom "Mountains and Sea"). To je inspirisalo njihovo eksperimentisanje sa tehnikama izlivanja i natapanja platna.

    Slike "Vel" i inovacije u Color Field slikarstvu

    Zrele slike "Vel" (1954): Karakterisane preklapanjem, superponiranim slojevima transparentne boje izlivenim na pripremljeno ili nepripremljeno platno i upijene u njega.

    Tehnika: Ekstremno razblažena boja nanosila se na nepreparirano, nepravljeno platno, omogućavajući joj da teče preko nagnute površine, stvarajući prozirne velove boja. Ovo je eliminisalo tragove četkice i naglasilo ravninu.

    Color Field slikarstvo: Louis je postao centralna figura Color Field pokreta, pojednostavujući slikovni prostor i naglašavajući ravne pl plane intenzivnih boja. Bio je deo pokreta Washington Color School.

    Serije i stilovi: Pored serija "Vel", istraživao je i serije poput floralnih motiva, kolona (1960), "unfurleds" (1960-61) – koje sadrže mlake neprozirne boje – i prugastih slika (1961-62).

    Glavna dostignuća i istorijski značaj

    Pionir Color Field slikarstva: Louis je priznat kao ključni inovator u Color Field slikarstvu, zajedno sa umetnicima kao što su Kenneth Nлично i Helen Frankenthaler.

    Uticaj na Apstraktni ekspresionizam: Njegov rad je proširio granice Apstraktnog ekspresionizma fokusirajući se na boju i ravninu, umesto na gest ili kompoziciju.

    Washington Color School: Značajan doprinos ovom uticajnom pokretu koji je naglašavao reduktivni pristup slikarstvu.

    Uništavanje dela: Primetno, Louis je uništio mnoge svoje slike između 1955. i 1957. godine, što odražava kritičku samoevaluaciju njegovog rada.

    Nasleđe: Njegov naglasak na boji, ravnini i materijalnosti boje nastavlja da inspiriše savremene umetnike.

    Kasne godine i smrt

    Louis je nastavio plodno da slika sve do svoje smrti.

    Smrt: Preminuo je 7. septembra 1962. u Washingtonu, D.C., u uzrastu od 49 godina.

    Memorijalna izložba (1963): Značajna izložba održana je u Solomon R. Guggenheim muzeju ubrzo nakon njegove smrti.

    Retrospektivne izložbe: Velike retrospektive usledile su u Museum of Fine Arts, Boston (1967) i National Gallery of Art, Washington, D.C. (1976).

    Muzej

    Cleveland Museum of Art

    Prikazano u Кливленд, САД

    A Legacy Forged in Light: Exploring the Cleveland Museum of Art

    Nestled within University Circle’s vibrant heart, the Cleveland Museum of Art isn't merely a repository of artistic treasures; it’s an immersive journey through human creativity spanning millennia and continents. From its remarkably accessible free admission policy to its breathtaking architectural evolution—a harmonious blend of neoclassical grandeur, modernist boldness, and contemporary innovation—the CMA offers an experience that transcends the traditional museum visit. Founded on a bedrock of philanthropic vision in 1913, it has consistently championed inclusivity, inviting all to engage with art’s profound power to illuminate our world. The museum's story is inextricably linked to Cleveland itself, reflecting the city’s dynamic growth and its enduring commitment to cultural enrichment.

    The collection’s breadth is truly astonishing. While renowned for its unparalleled holdings in Asian and Egyptian art – imagine standing before the serene beauty of a Ming dynasty screen or the imposing majesty of an ancient sarcophagus – the CMA's narrative extends far beyond these iconic areas. European masterpieces, from the delicate brushstrokes of Monet to the revolutionary canvases of Van Gogh and Picasso, form a cornerstone of its legacy. Contemporary works pulse with vitality, challenging perspectives and reflecting the complexities of our time. Recent exhibitions like “Rose Iron Works,” a powerful exploration of Cleveland’s industrial heritage through the lens of contemporary sculpture, demonstrate the museum's commitment to both historical significance and engaging dialogue. The CMA doesn’t simply display art; it fosters understanding, sparking curiosity and inviting contemplation on its cultural context.

    Architectural Echoes: A Conversation Across Time

    The physical structure of the Cleveland Museum of Art is as captivating as its collection. Its initial 1916 building, a magnificent example of neoclassical design rendered in pristine white Georgian Marble and adorned with Beaux-Arts flourishes, exudes an aura of timeless elegance – a testament to the vision of Hinman Hurlbut, John Huntington, and Horace Kelley. However, the museum’s story doesn't end there. In 1971, Marcel Breuer’s strikingly modern North Wing dramatically countered this classical foundation with its angular granite facade, creating a dynamic dialogue between eras. The most recent transformation, completed in 2013 under Rafael Viñoly, represents a masterful synthesis of past and present. This ambitious project doubled the museum's size, culminating in a breathtaking glass-roofed atrium that floods the interior with natural light, dissolving boundaries and fostering a sense of airy spaciousness. The atrium isn’t simply an expansion; it’s a deliberate orchestration of architectural styles—a visual embodiment of the CMA’s commitment to bridging cultures and time periods through art.

    A Living Institution: Beyond the Walls

    The Cleveland Museum of Art is far more than just a collection housed within walls. It's a vibrant hub for engagement, education, and community building. Interactive exhibits invite visitors to delve deeper into artistic techniques and cultural contexts, while dedicated educational programs cater to audiences of all ages and backgrounds. The museum actively fosters a sense of belonging through lectures, artist talks, and hands-on workshops—transforming the experience from passive observation to active participation. Notably, Transformer Station, a dynamic center for visual and performing arts located in Cleveland’s vibrant Hingetown neighborhood, extends the CMA’s reach beyond its physical boundaries, showcasing emerging artists and fostering creative dialogue within the city.

    A Foundation Built on Vision: Enduring Support

    The story of the Cleveland Museum of Art is inextricably linked to the unwavering generosity of its founders and the continued support of the Cleveland community. Hinman Hurlbut, John Huntington, and Horace Kelley envisioned an institution that would be accessible to all—a radical idea at the time—and this spirit of inclusivity remains central to the CMA’s mission today. The museum's substantial endowment – exceeding $920 million as of 2023 – allows it to maintain its free admission policy and invest in ambitious acquisitions and innovative programming, ensuring that future generations will have access to these invaluable cultural treasures.

    Useful Links:

    Cleveland Museum of Art

    Wikipedia - Cleveland Museum of Art

    Reynolds Morse Foundation

    Additional Research:

    Cleveland Museum of Art

    Cleveland Museum of Art - Wikipedia

    Museum of Contemporary Art Cleveland - Wikipedia

    Cleveland - Wikipedia

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    QR kod koji vodi na stranicu za preuzimanje Number 99

    artsdot.com/sr/art/download/morris-louis-number-99-D3J8KE-en/

    Citiranje ovog umetničkog dela

    MLA
    Louis, Morris. Number 99. 1960, Cleveland Museum of Art. https://artsdot.com/sr/art/morris-louis-number-99-D3J8KE-en/
    APA
    Louis, Morris (1960). Number 99 [Painting]. Cleveland Museum of Art. https://artsdot.com/sr/art/morris-louis-number-99-D3J8KE-en/
    Chicago
    Morris Louis. Number 99. 1960. Cleveland Museum of Art. https://artsdot.com/sr/art/morris-louis-number-99-D3J8KE-en/
    Harvard
    Louis, Morris (1960) Number 99. Cleveland Museum of Art. Available at: https://artsdot.com/sr/art/morris-louis-number-99-D3J8KE-en/

    Izvor: ArtsDot.com — pristup dato 28. август 2026.

    Number 99 — Morris Louis Deo 4 · Umetnik i muzej

    Pogledajte pažljivije

    Number 99 — Morris Louis

    Pažljiviji pogled

    Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.

    1. Šta vam prvo privuče pažnju i zašto?
    2. Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
    3. U našem katalogu ovo delo je klasifikovano pod: color, abstraction, red. Da li se slažete? Šta biste dodali ili uklonili?
    4. Vratite se na VAV (1960), koji ste ranije videli u ovom vodiču. Navedite dve zajedničke karakteristike ovog i prethodnog dela, kao i jednu koja ih razlikuje.
    5. Color Field Painting: Huge areas of flat, soft colour meant to be felt rather than read as a picture of anything. Gde se to može uočiti u ovom delu?

    Vaš odgovor

    Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.

    Izvor: ArtsDot.com — pristup dato 28. август 2026.

    Number 99 — Morris Louis Deo 5 · Pogledajte detaljnije

    Kviz o umetnosti

    Number 99 — Morris Louis

    Koliko dobro poznajete ovo umetničko delo?

    Označi jedan tačan odgovor za svako od poniženih 5 pitanja. Svako pitanje ima samo jedan tačan odgovor.

    1. 1. What artistic movement is ‘Number 99’ primarily associated with?

      • A Cubism
      • B Color Field Painting
      • C Surrealism

    2. 2. Which material did Morris Louis predominantly use to create his ‘Veil’ paintings?

      • A Oil Paint
      • B Magna Acrylic Paint
      • C Watercolor

    3. 3. In what year was ‘Number 99’ created?

      • A 1958
      • B 1960
      • C 1962

    4. 4. The painting 'Number 99' is housed at:

      • A The Metropolitan Museum of Art
      • B The Cleveland Museum of Art
      • C The Guggenheim Museum

    5. 5. Morris Louis was known for his innovative technique of applying paint to canvas in a way that resembled:

      • A Layered brushstrokes mimicking traditional landscapes
      • B Dripping and staining techniques creating fluid color fields
      • C Precise geometric shapes and patterns

    Moj rezultat: ____ od ukupno 5

    Ključ odgovora — za nastavnike

    Ovo započinje novu štampanu stranicu, pa se prilikom kopiranja može jednostavno izostaviti.

    1A · 2B · 3B · 4B · 5B