which answer best describes the contrast in blue veil by morris louis
He, too, struggled through the Great Depression, found financial and artistic sustenance in the WPA, participated in the Artists’ Union activities. Clement Greenberg, “‘American-Type’ Painting,” Partisan Review (Spring 1955), reprinted with revisions in Art and Culture (Boston: 1961), pp. Louis found his way gradually to the composition that was to characterize the Unfurleds, working out various possibilities in a decidedly logical manner in the “proto-Unfurleds” (cat. I doubt that this backing-in approach is new either for, with all this, the painting seems to establish some bond with art; historically it also becomes engulfed. He was so satisfied with three of his four (known) collages that he included them in the Washington Workshop exhibition where they were titled Tranquilities I, II, and III. The organization of the visual elements according to the principles of design. Even the background participates in the visual uproar, for jagged spirals, restrained only slightly by their placement in vertical channels, nearly fill the page. At that time it was removed from sketchpad number 5, a fact determined by the similar spiral binding and by a pattern of tiny worm holes discovered in every page of this sketchpad. Louis’s achievement is obviously no match for Picasso’s, but he does seem to have tried to respond to work that he could easily have seen in the Picasso retrospective that Alfred Barr organized for the Museum of Modern Art in 1939. He never shared in the studio and bar conversations, nor visited galleries or museums on a regular basis, nor heard the lectures and symposia—formal and informal—that both contributed to and reflected the maturation of abstract expressionism. I have explored the consequences of the New York visit for Louis’s career in “In Addition to the Veils,” Art in America (January–February 1978): 84–94. Louis was forty-six years old and had only three more years left to live. I think I saw him only three times in my life, despite the fact that we were Washingtonians and he was in the art world.[xxxviii]. 325 and 335), which share with all the Unfurleds a diagonally structured composition. His Veil paintings of 1958 that were shown at the Guggenheim, however, appeared to reflect a sensibility far more akin to the “color-field” paintings of the New York school. Which group of words best describes them? Our entire being is nourished by it. [xxxv]. Their differences in emotional tone—the one a calm, simplifying, and generalizing approach to reality, the other an intense, extreme, and imaginative one—are features that reemerge consistently in Louis’s drawings. Executed on the cover of a drawing tablet, it is the only “finished” drawing of several that Louis made on such covers. Louis, on the other hand, conceived his central image first and only later superimposed the grid. It is obvious that Louis could become fully engrossed in a drawing and derive much pleasure from it. If there were transitional paintings between this type of Veil and the pictures in the Jackson show, no traces remain. Even more menacing is the bizarre configuration in the center of the page, which can be interpreted as a huge disembodied eye and mouth or, perhaps, as a large snail and oyster shell.

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