Source: http://morrislouis.org/morrislouis/page/bibliography
Timestamp: 2019-04-25 12:01:52+00:00

Document:
Publications are listed chronologically by year and alphabetically by author within each year. An asterisk (*) denotes especially useful texts.
1. Morris Louis Archives are located at the Archives of American Art, Smithsonian Institution, Washington, D.C. and the Maryland Institute College of Art, Baltimore, Maryland. Among the various materials in the Louis Archives, the following are useful.
Correspondence between the artist and Leonard Bocour, Leo Castelli, Andre Emmerich, Clement Greenberg, James Lebron, Lawrence Rubin, and William Rubin.
Exhibition catalogues, newspaper clippings, magazine and journal articles dating from 1948 to 1982.
2. Clement Greenberg Correspondence. Archives of American Art, Smithsonian Institution, Washington, D.C.
3. J. S. [Joseph Solman]. “Exhibitions: Lonergan and a Baltimore Group.” Art Front 3, no. 2 (March 1937), p. 16.
4. Berkowitz, Leon. “Statement on the Artist.” In Morris Louis. Washington, D.C.: Workshop Art Center Gallery, April 1953.
5. Harrison, Gladys. “Gallery Gazer.” Washington Times Herald, 26 April 1953, p. M5.
6. Portner, Leslie Judd. “Art in Washington: The Workshop and the Watkins.” Washington Post, 1 February 1953, p. L5.
7. ———. “Art in Washington: One a Newcomer, One a Veteran.” Washington Post, 12 April 1953, p. L3.
8. Burrows, Carlyle. “Art Review.” New York Herald Tribune, 24 January 1954, sec. 4, p. 8.
9. Fitzsimmons, James. “A Critic Picks Some Promising Painters.” Art Digest 28 (15 January 1954), p. 10.
10. Greenberg, Clement. Note in gallery announcement for “Emerging Talent.” New York: Kootz Gallery, January 1954.
11. Portner, Leslie Judd. “Art in Washington.” Washington Post, 14 March 1954.
12. Preston, Stuart. “Gallery Variety.” New York Times, 17 January 1954, p. 11X.
13. Portner, Leslie Judd. “Art in Washington.” Washington Post and Times Herald, 5 June 1955, p. E7.
14. ———. “Art in Washington.” Washington Post and Times Herald, 16 October 1955, p. E7.
15. Ashton, Dore. “Le Printemps a New York.” Cimaise (Paris) 4 (July–August 1957), p. 28.
16. ———. “Art: Large Abstractions.” New York Times, 5 November 1957, p. 38.
17. ———. “Art.” Arts and Architecture 74, no. 7, p. 33.
18. C. B. [Carl Baldwin]. “Morris Louis.” Arts 32 (December 1957), p. 60.
19. Sawyer, Kenneth. “Art Notes: The Second Generation Aspect.” Baltimore Sun, 10 November 1957.
20. Tapie de Ceyleran, Michel. Introduction to Morris Louis. New York: Martha Jackson Gallery, November 1957.
21. Life. “A Boom in U.S. Art Abroad.” 19 May 1958, p. 76.
22. Sawyer, Kenneth. “Stages in the Creative Process.” Baltimore Sun, 4 May 1958, p. A7.
23. C. B. [Carlyle Burrows]. “Morris Louis Exhibition.” New York Herald Tribune, 12 April 1959, sec. 4, p. 6.
24. H. C. [Herbert Crehan]. “Morris Louis.” Art News 58 (April 1959), p. 58.
25. Greenberg, Clement. “The Case for Abstract Art.” Saturday Evening Post, 1 August 1959, pp. 18–19, 69–72.
26. Preston, Stuart. “Sculpture and Paint.” New York Times, 26 April 1959, p. X17.
27. M. S. [Martica Sawin]. “In the Galleries: Morris Louis.” Arts 33 (May 1959), pp. 58–59.
28. Sawin, Martica. “New York Letter.” Art International 3 (May–June 1959), pp. 48–49.
29. Sawyer, Kenneth. “Art Notes: Exhibit at Psychiatric Institute.” Baltimore Sun, 12 April 1959, p. A4.
30. Ashton, Dore. “Art: Battle of Elements.” New York Times, 31 March 1960, p. 64.
31. C. B. [Carlyle Burrows]. “Art Exhibition Notes.” New York Herald Tribune, 26 March 1960, p. 13.
32. L. C. [Lawrence Campbell]. “Exhibition at French Gallery.” Art News 59 (May 1960), p. 14.
33. Coleman, Roger. “Morris Louis Exhibition at the I.C.A. Gallery.” Art News and Review 12 (June 1960), p. 4.
*34. Greenberg, Clement. “Louis and Noland.” Art International 4 (May 1960), pp. 26–29. Reprinted as the introduction to the following exhibition catalogues: Milan: Galleria dell’Ariete, 1960; Düsseldorf: Galerie Schmela, 1962; Stuttgart: Galerie Müller, 1962; London: Kasmin Ltd., 1963.
35. D. J. [Donald Judd]. “Exhibition at French & Co.” Arts 34 (April 1960), p. 58.
36. Rubin, William. “Younger American Painters.” Art International 4 (January 1960), pp. 24–31.
37. Sylvester, David. “Selected Exhibitions (I.C.A.).” New Statesman (London), 28 May 1960, p. 789.
38. Tapie de Ceyleran, Michel. Morphologie Autre. Turin: 1960.
39. Times (London). “Weight and Weightlessness in an American’s Painting.” 1 June 1960.
40. Alloway, Lawrence. “Easel Painting at the Guggenheim.” Art International 5 (December 1961), pp. 26–34.
41. Arnason, H. H. Introduction to American Abstract Expressionists and Imagists. New York: The Solomon R. Guggenheim Museum, 1961.
42. Arts. “New York Exhibitions: In the Galleries.” 36 (November 1961), p. 47.
43. Ashbery, John. “Paris Notes.” Art International 5 (April 1961), p. 63.
44. Choay, Françoise. “Lettre de Paris.” Art International 5 (April 1961), p. 62.
45. Fried, Michael. “Visitors from America.” Arts 36 (December 1961).
46. Kroll, Jack. “American Painting and the Convertible Spiral: Abstract Expressionists and Imagists at the Guggenheim.” Art News 60 (November 1961), pp. 34–37, 66.
47. O’Doherty, Brian. “Art: Three Creators of Clear Illusions.” New York Times, 5 October 1961, p. 34.
48. I. H. S. [Irving H. Sandler]. “Morris Louis.” Art News 60 (November 1961), p. 12.
49. Sandler, Irving. “New York Letter.” Art International 5 (October 1961), p. 56.
50. Sawyer, Kenneth. “The Teacher and the Taught.” Baltimore Sun, 29 January 1961, p. A10.
51. Tapie de Ceyleran, Michel. Introduction to From Space to Perception. Rome: Rome-New York Art Foundation Inc., 1961.
52. Tillim, Sidney. “Month in Review.” Arts 36 (December 1961), pp. 42–43.
53. Truitt, James M. “Art-Arid D.C. Harbors Touted ‘New’ Painters.” Washington Post, 21 December 1961, p. A20.
54. Ahlander, Leslie Judd. “The Emerging Art of Washington.” Art International 6 (November 1962), pp. 30–33.
55. B. A. [Bruno Alfieri]. “Morris Louis: Romantic Optic Symbols.” Metro, nos. 4–5 (Summer 1962), pp. 30–33.
56. Art News. “Obituary.” 61 (October 1962), p. 8. “Letters to the Editor” in response to this obituary by Kenneth Noland, Art News 61 (November 1962), p. 6; and by Martha Jackson, Art News 61 (December 1962), p. 6.
57. Ashbery, John. “Paris Notes.” Art International 6 (December 1962), p. 48.
58. Fried, Michael. “New York Letter.” Art International 6 (November 1962), p. 53.
59. Gendel, Milton. “Rome.” Art News 60 (January 1962), p. 55.
60. Greenberg, Clement. “After Abstract Expressionism.” Art International 6 (October 1962), pp. 24–32.
61. Judd, Donald. “In the Galleries: Morris Louis.” Arts 37 (December 1962), pp. 42–43.
62. J. K. [Jack Kroll]. “Exhibition at Emmerich Gallery.” Art News 61 (December 1962), p. 14.
63. Newsweek. “Strong Line.” 22 October 1962, p. 66.
64. New York Times. “Obituary.” 8 September 1962, p. 19.
65. O’Doherty, Brian. “Art: Morris Louis Plays on the Eye.” New York Times, 20 October 1962, p. 22.
66. Swenson, G. R. “New York Acclaims Louis Show,” Washington Post, 28 October 1962, p. G10.
67. Thwaites, John Anthony. “Auf grau-weisser Leere.” Deutsche Zeitung (Cologne and Stuttgart), 14 May 1962.
68. ———. “Exhibitions in Germany.” Pictures on Exhibit, Summer 1962, p. 65.
69. Tuck, Lon B. “Obituary.” Washington Post, 8 September 1962, p. C3.
70. Ahlander, Leslie Judd. “Washington Notes.” Art International 7 (March 1963), p. 68.
71. ———. Washington Post, 23 June 1963, p. G6.
*72. Alloway, Lawrence. Introduction to Morris Louis, 1912–1962. New York: The Solomon R. Guggenheim Museum, 1963.
73. Art International. “IV Biennale Internazionale d’Arte.” 7 (June 1963), pp. 51–63.
74. Ashbery, John. “Paris Notes.” Art International 7 (February 1963), p. 72.
75. Ashton, Dore. Arts and Architecture 80 (November 1963), p. 7.
76. ———. “New York Report.” Das Kunstwerk 17 (December 1963), p. 23.
77. Burr, James. Apollo 78 (October 1963), p. 309.
78. Finley, Gerald E. “Louis, Noland, Olitski.” Artforum 1, no. 9 (March 1963), p. 34.
*79. Fried, Michael. “Some Notes on Morris Louis.” Arts 38 (November 1963), pp. 22–27.
*80. Greenberg, Clement. Introduction to Three New American Painters: Louis, Noland, Olitski. Regina, Saskatchewan: Norman Mackenzie Art Gallery, 1963. Reprinted in Canadian Art 20 (May 1963), pp. 172–75; excerpts reprinted in Morris Louis. London: Kasmin Ltd., 1963.
81. Gruen, John. “Morris Louis Show at the Guggenheim.” New York Herald Tribune, 25 September 1963, p. 18.
82. Hess, Thomas. “Phony Crisis in American Art.” Art News 62 (Summer 1963), pp. 24–28, 59–60.
83. Hudson, Andrew. “Art.” The Nor’wester (Saskatoon, Canada), 17 January 1963.
84. Kozloff, Max. “A Letter to the Editor.” Art International 7 (Summer 1963), pp. 89–92.
85. ———. “Art.” The Nation, 19 October 1963, pp. 247–48.
86. Lynton, Norbert. “London Letter.” Art International 7 (September 1963), p. 70.
87. Melville, Robert. Architectural Review 134 (December 1963), p. 431.
88. O’Doherty, Brian. “Abstract Confusion.” New York Times, 2 June 1963, p. xii.
89. ———. “Morris Louis’ Works.” New York Times, 25 September 1963, p. 40.
90. ———. “Epilogue to a Too-brief Career.” New York Times, 29 September 1963, p. x17.
91. Robbins, Daniel. Washington Post, 29 September 1963, p. G8.
*92. ———. “Morris Louis: Triumph of Color.” Art News 62 (October 1963), pp. 28–29, 57–58.
93. Rosenblum, Robert. “Morris Louis.” In Toward a New Abstraction. New York: The Jewish Museum, 1963, p. 18.
*94. ———. “Morris Louis at the Guggenheim Museum.” Art International 7 (December 1963), pp. 24–27.
95. Sandler, Irving. “New York Letter.” Quadrum 14 (1963), pp. 122–23.
96. ———. “In the Galleries.” New York Post, 13 October 1963, magazine section, p. 14.
97. Schneider, Pierre. “Art News from Paris.” Art News 61 (January 1963), p. 45.
98. Time. 24 May 1963, p. 78.
99. Washington Post. “Louis Honored by One-Man Show.” 29 September 1963, p. G8.
100. R. P. W. [Robert Pincus-Witten]. “Modern American Painters, Everett Ellin Gallery.” Artforum 1 (April 1963), p. 47.
101. Baro, Gene. “The Venice Biennale.” Arts 39 (September 1964), pp. 34–35.
102. Bowness, Alan. “54/64 Painting and Sculpture of a Decade: The Gulbenkian Foundation.” Studio International 167 (May 1964), p. 194.
103. L. C. [Lawrence Campbell]. “Reviews and Previews: Morris Louis.” Art News 63 (December 1964), p. 12.
104. Coplans, John. “Post-Painterly Abstraction.” Artforum 2 (Summer 1964), pp. 5–9.
105. H. C. [Herbert Crehan]. “Morris Louis—Kenneth Noland.” Werk 51 (August 1964), p. 188.
106. Eland, Ursula N. “Morris Louis.” Gallery Notes (Buffalo Fine Arts Academy, Buffalo, New York) 27 (Spring 1964), pp. 12–13.
*107. Fried, Michael. “Modernist Painting and Formal Criticism.” The American Scholar 33 (Autumn 1964), pp. 642–48.
108. Gassiot-Talabot, Gerald. Cimaise 68 (April–June 1964), p. 83.
109. ———. Cimaise 69–70 (July–October 1964), p. 110.
110. ———. “La Panoplie de l’oncle Sam a Venise.” Aujourd’hui 47 (October 1964), pp. 30–33.
111. Genauer, Emily. “The Merchandise of Venice.” New York Herald Tribune, 12 July 1964, magazine section, p. 21.
112. Gendel, Milton, “Hugger-mugger in the Giardini.” Art News 63 (September 1964), pp. 32–35, 53.
113. Glueck, Grace. “Love Culture, Will Travel.” New York Times, 12 July 1964, p. 18x.
114. Greenberg, Clement. “A Famous Critic’s Collection.” Vogue, 15 January 1964, pp. 92–95.
*115. ———. Introduction to Post Painterly Abstraction. Los Angeles: Los Angeles County Museum of Art, 1964. Reprinted in Art International 8 (Summer 1964), pp. 63–64.
116. Gruen, John. New York Herald Tribune, 1 November 1964, magazine section, p. 32.
117. Kozloff, Max. Arts 39 (January 1964), p. 50.
118. Kramer, Hilton. “Notes on Paintings in New York.” Arts Yearbook VII. New York: Arts Magazine, 1964, pp. 10–20.
119. Michelson, Annette. “The 1964 Venice Biennale.” Art International 8 (September 1964), pp. 38–40.
120. Preston, Stuart. New York Times, 25 October 1964, section 2, p. 13.
121. Rose, Barbara. “The Primacy of Color.” Art International 8 (May 1964), pp. 22–26.
122. Solomon, Alan. Introduction to New American Art: Four Germinal Painters. New York: 32nd Biennale di Venezia, 1964.
123. ———. “Americans in Venice.” The Art Gallery 7 (June 1964), pp. 14–21.
124. ———. “Sommerausstellungen in Paris.” Das Kunstwerk 18 (December 1964), p. 93.
125. S. T. [Sidney Tillim]. “In the Galleries.” Arts 39 (December 1964), pp. 66–67.
126. Andreae, Christopher. “Louis’ Color Flares at Whitechapel.” Christian Science Monitor, 2 July 1965, pp. 24–25.
127. Binder-Hagelstange, Ursula. “Meister der Farbe.” Frankfurter Allegemeine Zeitung, 25 May 1965, p. 20.
128. Davis, Douglas. “Gallery Going.” The National Observer, 31 August 1965, p. 16.
129. Dienst, Rolf-Gunter. Introduction to Morris Louis. Baden-Baden, West Germany: Staatliche Kunsthalle, 1965.
130. Frankenstein, Alfred. “Explosive and Spatial Color.” San Francisco Sunday Examiner and Chronicle, 24 October 1965, pp. 28–29.
*131. Fried, Michael. “Blue Veil by Morris Louis.” In Fogg Art Museum, Acquisitions 1965. Cambridge, Massachusetts: Fogg Art Museum, 1965, pp. 177–81.
132. ———. Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella. Cambridge, Massachusetts: Fogg Art Museum, 1965.
133. Gosling, Nigel. “Pure Sensation.” The Observer (London), 20 June 1965, p. 25.
134. ———. “Painting without Paint.” The Observer (London), 4 July 1965, pp. 24–25.
*135. Greenberg, Clement. “Letter to the Editor.” Art International 9 (May 1965), p. 66. Reprinted in Michael Fried, Morris Louis 1912–1962, Boston: Museum of Fine Arts, 1967.
136. Halbfinger, Andrea. “Color Alone Can Make the Viewer a Bit Tired.” Washington Post, 7 February 1965, p. G7.
137. Haller, Elsbeth. “Ausstellungen in der Staatliche Kunsthalle, Baden-Baden.” Das Kunstwerk 19 (July 1965), p. 16.
138. Hudson, Andrew. “Tourist Finds an Art Feast in Galleries of Washington.” Washington Post, 15 August 1965, p. G5.
139. ———. “Letter from Washington.” Art International 9 (December 1965), p. 56.
140. Kozloff, Max. “Abstract Attrition.” Arts 39 (January 1965), pp. 46–50.
141. Lippard, Lucy. “New York Letter.” Art International 9 (February 1965), pp. 34–35.
142. Lynton, Norbert. “Morris Louis Exhibition.” Manchester Guardian, 28 June 1965.
143. ———. “London Letter.” Art International 9 (September 1965), pp. 49–50.
144. Mullins, Edwin. “After the Shocks.” Sunday Telegraph (London), 27 June 1965.
145. Nordland, Gerald. Introduction to The Washington Color Painters. Washington, D.C.: Washington Gallery of Modern Art, 1965.
*146. Robbins, Daniel. “Morris Louis at the Juncture of Two Traditions.” Quadrum 18 (1965), pp. 41–54, 181.
147. Robertson, Bryan. “Expansive Scale of Morris Louis’s Paintings.” Times (London), 25 June 1965, p. 17.
148. Rose, Barbara. “Beyond Vertigo: Optical Art at the Modern.” Artforum 3 (April 1965), pp. 30–33.
149. Rosenblum, Robert. Introduction to Morris Louis. Amsterdam: Stedelijk Museum, 1965.
150. ———. “Neue Abstraktion.” Das Kunstwerk 18 (April 1965), p. 119.
151. Russell, John. “An Art of Plain Speaking.” Sunday Times (London), 27 June 1965, p. 39.
152. Sandler, Irving H. “The New Cool Art.” Art in America 53 (January–February 1965), pp. 96–101.
153. Solomon, Alan. Introduction to Morris Louis, London: Whitechapel Art Gallery, 1965.
154. Stevens, Elizabeth. “They Hypnotic Grip of Elemental Shapes.” Washington Post, 27 June 1965, p. G7.
155. ———. “Washington Color Painters.” Arts 40 (November 1965), pp. 29–33.
156. Time. “Art: Peacock Duo.” 8 January 1965, p. 44.
157. Wright, Barbara. “Morris Louis.” Arts Review (London), 26 June 1965.
158. Bannard, Walter Darby. “Present-Day Art and Ready-Made Styles.” Artforum 4 (December 1966), pp. 30–35.
159. Bloch, S. R. “New York.” Art and Artists, May 1966, pp. 70–71.
160. L. C. [Lawrence Campbell]. “Reviews and Previews.” Art News 65 (May 1966), p. 19.
161. Genauer, Emily. New York Herald Tribune, 19 March 1966, p. 7.
162. Goldin, Amy. “A Note on Opticality.” Arts 40 (May 1966), pp. 53–54.
163. ———. “In the Galleries: Morris Louis.” Arts 40 (May 1966), pp. 61–62.
164. Henning, Edward. Fifty Years of Modern Art: 1916–1966. Cleveland: Cleveland Museum of Art, 1966.
165. Hudson, Andrew. “Viewpoint on Art.” Washington Post, 6 February 1966, p. G7.
166. Kramer, Hilton. New York Times, 19 March 1966, p. 25.
167. Krauss, Rosalind. Artforum 4 (June 1966), pp. 51–52.
168. Mellow, James R. “New York Letter.” Art International 10 (September 1966), p. 54.
169. Noland, Cornelia. “A Decade of Federal Art Patronage.” The Washingtonian, April 1966, pp. 55–56.
170. Plumb, Barbara. “Antique and Avant-Garde.” New York Times Magazine, 10 July 1966, pp. 44–45.
171. Andreae, Christopher. “Louis’s Butterflies.” Christian Science Monitor, 14 April 1967, p. 9.
172. Ashton, Dore. “New York Commentary.” Studio International 174 (May 1967), p. 264.
173. Baro, Gene. “Washington and Detroit Commentary.” Studio International 174 (July–August 1967), pp. 49–51.
174. ———. “Collector: Lydia Winston.” Art in America 55(September–October 1967), pp. 72–75.
175. S. B. [Scott Burton]. “Reviews and Previews.” Art News 66 (April 1967), pp. 13–14.
Fineberg, Jonathan D. "Morris Louis." The Harvard Crimson, 26 April 1967.
176. Frankenstein, Alfred. “Elegies, Anguish, and Lyric Suites.” San Francisco Sunday Examiner & Chronicle, 5 March 1967, pp. 26–27.
*177. Fried, Michael. Introduction to Morris Louis 1912–1962. Boston: Museum of Fine Arts, 1967. Reprinted as “The Achievement of Morris Louis,” Artforum 6 (February 1967), pp. 34–40.
178. Getlein, Frank. “Art: Modern Gallery.” Washington Sunday Star, 5 March 1967, p. D3.
179. Gold, Barbara. “Louis’s Efforts Being Felt.” Baltimore Sun, 12 March 1967, p. D4.
*180. Greenberg, Clement. “Postscriptum, November 1966.” In Michael Fried, Morris Louis 1912–1962, Boston: Museum of Fine Arts, 1967, p. 84.
181. Hudson, Andrew. “Belated Tribute to a Washington Pioneer.” Washington Post, 12 March 1967, pp. K1, K8.
182. Jacobs, Jay. “An Air of Optimism.” The Art Gallery, May 1967, p. 52.
183. Jewell, David A. “Artist’s Father Sues Son’s Widow Over Estate Valued at $1 Million.” Washington Post, 29 July 1967, pp. A1, A3.
184. Kozloff, Max. “Art.” The Nation, 20 March 1967, p. 379.
185. ———. “Modern Art and the Virtues of Decadence.” Studio International 174 (November 1967), p. 198.
186. Leider, Philip. “You May Think You Appreciate Morris Louis, But Do You Really.” New York Times, 26 February 1967.
187. Mellow, James R. “New York.” Art International 11 (April 1967), pp. 56–57.
188. Michelson, Annette. “An Art Scholar’s Loft: Light, Silence, and Space.” Vogue, 15 March 1967, pp. 136–43, 154–55.
189. Michener, Charles T. “Modern Master’s Works Unfurled.” Seattle Magazine, July 1967, pp. 40–43.
190. Perreault, John. “A Minimal Future.” Arts 40 (March 1967), pp. 26–31.
191. Robbins, Tom. “Seattle.” Artforum 6 (September 1967), pp. 65–67.
*192. Rudenstine, Angelica. “Morris Louis’ Medium.” In Michael Fried, Morris Louis 1912–1962, Boston: Museum of Fine Arts, 1967, pp. 79–80.
193. P. S. “In the Galleries: Morris Louis.” Arts 41 (April 1967), pp. 5–7.
194. Studio International. “On Exhibition.” 174 (March 1967), p. 161.
195. Tillim, Sidney. “Gothic Parallels: Watercolor and Luminism in American Art.” Artforum 5 (January 1967), pp. 15–19.
196. Time. “Unfurled Banners.” 21 April 1967, pp. 72–73.
197. Young, M. S. “Letter from U.S.A.” Apollo 85, p. 469.
198. Ashton, Dore. “New York Commentary.” Studio International 176 (July–August 1968), pp. 37–39.
199. ———. “New York Commentary: The Art of the Real at the Museum of Modern Art.” Studio International 176 (September 1968), pp. 92–93.
200. Battcock, Gregory. “The Art of the Real—The Development of a Style 1948–68.” Arts 42 (Summer 1968), pp. 44–45.
201. City Art Museum of St. Louis Bulletin. “Alpha Tau, a Late Painting by Morris Louis.” November–December 1968, pp. 2–3.
202. Coplans, John. Serial Imagery. Pasadena, California: Pasadena Art Museum, 1968.
203. Gold, Barbara. “Major Exhibit at Museum.” Baltimore Sunday Sun, 8 September 1968, p. D1.
*204. Goldin, Amy. “Morris Louis: Thinking the Unwordable.” Art News 67 (April 1968), pp. 48–49, 67–69.
205. Gouk, Alan. “Apropos of Some Recent Exhibitions in London.” Studio International 176 (October 1968), pp. 125–26.
206. Heron, Patrick. “A Kind of Cultural Imperialism?” Studio International 176 (February 1968), pp. 62–64.
207. Korengold, Robert. “Diplomacy with Art.” Vogue, May 1968, pp. 262–67, 276–79.
208. Kramer, Hilton. “The Metropolitan Takes Another Step Forward.” New York Times, 25 May 1968, p. 31.
209. Leider, Philip. “New York—Art of the Real.” Artforum 7 (September 1968), p. 65.
210. Lucie-Smith, Edward. “An Interview with Clement Greenberg.” Studio International 175 (January 1968), pp. 4–5.
211. Riese, Barbara. “Greenberg and the Group: A Retrospective View.” Part I: Studio International 176 (May 1968), pp. 254–57; Part II: Studio International 176 (June 1968), pp. 314–15.
212. Schjeldahl, Peter. “Stripes, Paper Bags, and TV.” New York Times, 5 May 1968, p. D29.
213. Siegel, Jeanne. “Documenta IV.” Arts 42 (September–October 1968), pp. 37, 39.
214. Whitford, Frank. “Documenta 4: A Critical Review.” Studio International 176 (September 1968), pp. 74–78.
215. Alley, Ronald. Recent American Art. London: The Tate Gallery, 1969.
216. Baigell, Matthew. “American Painting: On Space and Time in the Early 1960s.” Art Journal 28 (Summer 1969), pp. 368–74, 387, 401.
217. Benson, LeGrace G. “The Washington Scene.” Art International 13 (Christmas 1969), pp. 21–23, 36–42, 50.
218. Buck, Robert T. Introduction to The Development of Modernist Painting: Jackson Pollock to the Present. St. Louis, Missouri: Steinberg Art Gallery, Washington University, 1969.
219. Burr, James. “Around the Galleries: Balancing Spaces.” Apollo 89 (April 1969), p. 313.
220. S. B. [Scott Burton]. “Reviews and Previews.” Art News 68 (April 1969), pp. 13, 19.
221. Canaday, John. “All Right, I’ve Seen It Now, You Can Take It Away.” New York Times, 17 August 1969, p. D9.
222. Claman, Julian. “Some Observations on the State of the Arts in America Today: Painting and Sculpture.” Spot Check: Comment on Culture USA, Harper’s Bazaar, February 1969, pp. 2–5.
223. Field, S. “London: Objects—More or Less.” Art and Artists 4 (April 1969), p. 56.
224. Freed, Eleanor. “A Windfall for Texas.” Art in America 57 (November–December 1969), pp. 78–85.
225. Gold, Barbara. “Nelson A. Rockefeller Collection.” Arts Magazine 43 (May 1969), pp. 28–31.
226. Harrison, Charles. “London Commentary.” Studio International 177 (April 1969), pp. 190–92.
227. ———. “Against Precedents.” Studio International 178 (September 1969), p. 93.
228. Henning, E. B. “Morris Louis, Number 99.” The Bulletin of the Cleveland Museum of Art 56 (February 1969), pp. 81–85.
229. Honisch, Dieter. “Morris Louis Ksi.” Museum Folkwang Essen Mitteilungen 3 (1969), p. 19.
230. Lieberman, William S. The Nelson Aldrich Rockefeller Collection. New York: The Museum of Modern Art, 1969.
231. C. N. [Cindy Nemser]. “In the Galleries: Morris Louis.” Arts 42 (April 1969), p. 60.
232. Pincus-Witten, Robert. “New York: Morris Louis.” Artforum 7 (May 1969), pp. 61–62.
233. Rathbone, Perry T. “A Panorama of American Painting.” Apollo 90 (December 1969), pp. 504–13.
234. Richard, Paul. “Artist Louis: His Legacy.” Washington Post, 14 March 1969.
235. Russell, John. “Living with Art.” House & Garden 136 (November 1969), pp. 84–101.
236. Schjeldahl, Peter. “New York Letter.” Art International 13 (April 1969), p. 64.
237. Secrest, Meryle. “No Promotion, Only Quality.” Washington Post, 6 August 1969, p. B6.
238. Shirey, David L. “NY Painting and Sculpture 1940–1970.” Arts Magazine 44 (September–October 1969), pp. 35–39.
239. Washington Post. “New York’s Art Furor.” 20 October 1969, p. B6.
240. Altman, Peter. “Morris Louis’ Art Shows Excellence.” Minneapolis Star, 9 February 1970, p. B5.
*241. Baker, Elizabeth C. Introduction to Morris Louis. Minneapolis: Dayton’s Gallery 12, February 1970.
*242. ———. “Morris Louis: Veiled Illusions.” Art News 69 (April 1970), pp. 36–39, 62–64.
243. Blotkam, Carel. Na De Beelden Storm. Amsterdam: 1970.
244. Colt, Priscilla. Introduction to Color and Field 1890–1970. Buffalo, New York: Albright-Knox Art Gallery, 1970.
245. Corkery, Arlene. “Some Recent Developments in Washington Art.” In Washington: Twenty Years. Baltimore: Baltimore Museum of Art, 1970.
246. Davis, Gene. “Letter to the Editor.” Art International 14 (April 1970), p. 80.
247. W. D. [Willis Domingo]. “Louis at Lawrence Rubin.” Arts Magazine 44 (May 1970), p. 67.
248. Fenton, Terry. “The David Mirvish Opening Show.” ArtsCanada 27 (December 1970), pp. 57–58.
*249. Fried, Michael. Morris Louis. New York: Harry N. Abrams, Inc., 1970. Book reviews by: Denvir, Bernard, “Sensibility and Cybernetics,” Art International 16 (February 1972), p. 65; Hilton, Tim, Studio International 182 (November 1971), p. 210; Kramer, Hilton, “Words and Pictures Modern,” New York Times Book Review, 5 December 1971, p. 6; Mayer, Rosemary, Arts Magazine 47 (March 1973), pp. 90–91; Robbins, Corinne, “Vacuum Packed: Morris Louis by Michael Fried,” Art Gallery Magazine 14 (May 1971), pp. 84–85.
250. Glueck, Grace. “Art: The ‘Omega’ Series.” New York Times, 1 April 1970, p. 38.
251. ———. “Collectors vs. Conceptual.” Art in America 58 (May–June 1970), pp. 32–38.
252. Gold, Barbara. “D.C. Art More than Memorials.” Baltimore Sun, 17 May 1970, p. D20.
253. ———. “‘20 Years’ Began with Louis, Noland.” Baltimore Sun, 31 May 1970, p. D6.
254. Gouk, Alan. “An Essay on Painting.” Studio International 180 (October 1970), pp. 145–49.
255. Henning, E. B. “Art Museum and the Avant Garde.” Art Journal 30 (Fall 1970), pp. 20–26.
256. Heron, Patrick. “Letter to the Editor.” Art International 14 (September 1970), pp. 79–80.
257. Hudson, Andrew. Introduction to Ten Washington Artists: 1950–1970. Edmonton, Alberta: Edmonton Art Gallery, 1970.
*258. Jacobson, Helen. “As I Remember Morris Louis.” In Ten Washington Artists: 1950–1970. Edmonton, Alberta: Edmonton Art Gallery, 1970, pp. 8–9.
259. Johnson, Diana. “Art in Washington: Twenty Years.” In Washington: Twenty Years. Baltimore: Baltimore Museum of Art, 1970, pp. 7–12.
260. Kerber, Bernhard. “Streifenbilder; zur unterscheidung ahnlicher phanomene.” Wallraf-Richartz Jahrbuch 32 (1970), pp. 235–56.
261. Marandel, J. Patrice. “Lettre de New York: Whitney Museum Exhibition.” Art International 14 (Summer 1970), pp. 128–29, 130.
262. Masheck, Joseph. “New York.” Artforum 9 (September 1970), pp. 79–80. Reply by William Rubin, “Letter to the Editor,” Artforum 9 (December 1970), p. 78.
*263. Moffett, Kenworth. “Morris Louis: Omegas and Unfurleds.” Artforum 8 (May 1970), pp. 44–47.
264. Nemser, Cindy. “Art Criticism and Perceptual Research.” Art Journal 29 (Spring 1970), pp. 326–29.
265. Prokopoff, Stephen. Introduction to Two Generations of Color Painting. Philadelphia: Institute of Contemporary Art, 1970.
266. Quizgard, Liz Whitney. “Washington: ‘Twenty Years’ Opens at Baltimore Museum.” Baltimore Sun, 14 May 1970.
267. Ratcliff, Carter. “New York Letter.” Art International 14 (May 1970), p. 80.
268. ———. “New York Letter.” Art International 14 (Summer 1970), p. 142.
269. ———. “New York Letter.” Art International 14 (September 1970), p. 95.
270. Richard, Paul. “But Not Forgotten.” Washington Post, 26 December 1970, pp. B1, B3.
271. Steele, Mike. “Show at Gallery 12.” Minneapolis Tribune, 16 February 1970, p. 21.
272. Tuchman, Phyllis. “American Art in Germany: The History of a Phenomenon.” Artforum 9 (November 1970), pp. 58–69.
273. Vogt, Paul. “Berichte aus rheinischen Museen: Museum Folkwang Essen.” Wallraf-Richartz Jahrbuch 32 (1970), pp. 346–47.
274. Bannard, Walter Darby. “Touch and Scale: Cubism, Pollock, Newman, and Still.” Artforum 9 (June 1971), pp. 58–66.
275. Boles, Bernard. “Color and Its Continuity.” Sunday Review (Sydney, Australia), 6 August 1971.
276. Calas, Nicholas and Elena. Icons and Images of the Sixties. New York: Dutton, 1971, pp. 183–87.
277. Carmean, Jr., E. A. Introduction to Toward Color and Field. Houston: Museum of Fine Arts, 1971.
278. Coulonges, H. “Beauté Suave.” Connaissance des Arts 229 (March 1971), pp. 76–83.
279. Glueck, Grace. “60 U.S. Art-Works Bring $1 Million.” New York Times, 18 November 1971.
280. Gratz, Roberta B. “Rocky’s Art Sold for 150G.” New York Post, 18 November 1971.
281. Henning, E. B. “Color and Field.” Art International 15 (20 May 1971), pp. 46–47.
*282. Krauss, Rosalind. Introduction to Morris Louis. Auckland, New Zealand: Auckland City Art Gallery, 1971.
283. Kuspit, Donald. “Illusion of the Absolute in Abstract Art.” Art Journal 31 (Fall 1971), pp. 26–30.
*284. Lynn, Elwin. “Louis in Australia.” Art International 15 (November 1971), pp. 29–33, 49.
285. Masheck, Joseph. “Letter to the Editor.” Artforum 9 (May 1971), p. 10.
286. Noland, Cornelia. “Letter to the Editor.” Artforum 9 (May 1971), p. 10.
287. Prokopoff, Stephen. “Colour Painting in America.” Art and Artists 6 (July 1971), p. 21.
288. Rose, Barbara. “A Conversation with Gene Davis.” Artforum 9 (March 1971), pp. 50–54. Corrections: Artforum 9 (April 1971), p. 10; Artforum 9 (May 1971).
*289. ———. “Quality in Louis.” Artforum 10 (October 1971), pp. 62–65. Correction: Artforum 10 (November 1971), p. 9.
*290. ———. “Retrospective Notes on the Washington School.” The Vincent Melzac Collection. Washington, D.C.: Corcoran Gallery of Art, 1971.
*291. Rubin, William. “Letter to the Editor.” Artforum 9 (March 1971), p. 8.
292. Smith, J. Ford. “Acquisitions of Modern Art by Museums.” Burlington Magazine 113 (August 1971), p. 490.
293. Smith, Terry. “Abbreviated Cultural Package.” Sunday Australian (Sydney), 25 July 1971, p. 21B.
294. Ungar, Sanford J. “The Disputed Legacy of Morris Louis.” Washington Post, 4 January 1971, pp. C1, C7.
295. Velik, Gloria. “Sensuality in Paint.” The Australian (Sydney), 24 July 1971, p. 21.
296. Vogt, Paul. “Kunst fur eine Industrielandschaft: Das Beispiel Museum Folkwang in Essen.” Westermann Monatsmagazin, February 1971, p. 41.
297. Bannard, Walter Darby. “Quality, Style and Olitski.” Artforum 11 (October 1972), pp. 64–67.
298. Burnham, Jack. “The Semiotics of ‘End Game’ Art.” Arts Magazine 47 (November 1972), pp. 38–43. Reply by Clement Greenberg, “Letter to the Editor,” Arts Magazine 47 (December–January 1973), p. 94.
299. Case, William D. “Morris Louis.” Arts Magazine 46 (Summer 1972), pp. 63–64.
300. Davis, Douglas. “Pouring It On.” Newsweek, 15 May 1972, p. 66.
301. Gosling, Nigel. “Doubts and Certainties.” The Observer Review (London), 16 April 1972, p. 31.
302. Hudson, Andrew. “Boston Letter.” Studio International 183 (April 1972), pp. 162–63.
303. Ratcliff, Carter. “New York Letter.” Art International 16 (January 1972), pp. 41–45, 66–71.
304. Richard, Paul. “National Gallery of Art: ‘Casting Our Net as Broadly as Possible.’” Washington Post, 28 August 1972, pp. B1, B7.
305. Russell, John. “The Life of Colour.” Sunday Times (London), 16 April 1972, p. 36.
306. Secrest, Meryle. “Melzac: New (Old) Chief at the Corcoran.” Washington Post, 30 July 1972, pp. F1, F5.
307. Seitz, William. “Mondrian and the Issue of Relationships.” Artforum 10 (February 1972), pp. 70–75.
308. J. S. [Jeanne Siegel]. “Reviews and Previews.” Art News 71 (Summer 1972), p. 54.
309. Steinberg, Leo. “Reflections on the State of Criticism.” Artforum 10 (March 1972), pp. 37–49.
310. Elderfield, John. “Painterliness Redefined: Jules Olitski and Recent Abstract Art, Part II.” Art International 17 (April 1973), pp. 36–41, 101.
311. Geelhaar, Christian. “Galerie Andre Emmerich, Zurich.” Pantheon 31 (October 1973), p. 452.
*312. Greenberg, Clement. “Letter to the Editor.” Arts Magazine 47 (December–January 1973), p. 94.
313. Kozloff, Max. “American Painting During the Cold War.” Artforum 11 (May 1973), pp. 43–54.
314. Kurtz, Bruce. “Abstraction and Actuality.” Arts Magazine 48 (December 1973), pp. 30–34.
315. Miller, Donald. “Hanging Loose: An Interview with Sam Gilliam.” Art News 72 (January 1973), pp. 42–44.
*316. Moffett, Kenworth. “Noland.” Art International 17 (Summer 1973), pp. 22–23, 91–93, 100.
317. Richard, Paul. “Boston’s Coup: Louis Canvases.” Washington Post, 27 February 1973, pp. B1, B11.
318. Rose, Barbara. “Morris Louis.” Vogue, January 1973, pp. 134–35, 170, 176.
319. Schjeldahl, Peter. “Before Art Went ‘Big Time.’” New York Times, 11 November 1973, pp. 21, 37.
320. Stitleman, Paul. “New York.” Arts Magazine 47 (March 1973), pp. 69–70.
321. Taylor, Robert. “6 Morris Louis Works Acquired by Museum.” Boston Globe, 22 February 1973, p. 62.
322. ———. “Light as a Romantic Mystery: The Luminous Paintings of Morris Louis.” Boston Globe Sunday Magazine, 25 February 1973, pp. 14–16.
323. Alloway, Lawrence. “From Wols to Veils; Review of Paul Jenkins by Albert Elsen.” Artforum 12 (February 1974), pp. 63–64.
324. Ashton, Dore. “Comments on Paintings of Morris Louis and Helen Frankenthaler.” Honolulu Academy of Arts Journal 1 (1974), pp. 45–49.
*325. Bannard, Walter Darby. “Morris Louis and the Restructured Picture.” Studio International 187 (July–August 1974), pp. 18–20.
326. Burr, James. “Art Stains.” Apollo 149 (July 1974), p. 71.
327. Calas, Nicholas. “Quatre champions de la ‘field painting’: Morris Louis, le théâtral.” XXe Siecle 41 (December 1974), pp. 132–33.
328. Cork, Richard. “Beyond the Veil.” Evening Standard (London), 11 July 1974, p. 15.
329. Del Renzio, Toni. “London.” Art and Artists 9 (September 1974), pp. 41–43.
*330. Elderfield, John. Introduction to Morris Louis. London: Arts Council of Great Britain, 1974. Reprinted in German translation as Morris Louis: Gemalde 1958 bis 1962. Düsseldorf, West Germany; Städtische Kunsthalle, 1974.
331. ———. “High Modern: An Introduction to Post-Pollock Painting in America.” Studio International 188 (July–August 1974), pp. 4–7.
332. Elsen, Albert. “Letter to the Editor.” Artforum 12 (April 1974), p. 11.
333. Feaver, William. “Godfather Louis.” The Listener (London), 11 July 1974, p. 53.
*334. ———. “Morris Louis.” Art International 18 (20 September 1974), pp. 38–39, 48.
335. Fuller, Peter. “Hayward Gallery, London.” Connoisseur 187 (September 1974), pp. 73–74.
336. Goossen, E. C. “Color and Light.” Arts Magazine 48 (January 1974), pp. 32–41. Reprinted in The Vincent Melzac Collection, Part One: The Washington Color Painters. West Palm Beach, Florida: Art Museum of the Palm Beaches, Norton Gallery, 1974, pp. 24–29.
337. Henning, E. B. “Plane, Structure, Color, and Content.” The Bulletin of the Cleveland Museum of Art 61 (September 1974), pp. 223–39.
338. Hilton, Tim. “The Dance of Louis’s Veils.” Sunday Observer (London), 30 June 1974.
339. Martin, Richard. “Palm Beach: The Washington Color Painters.” Arts Magazine 48 (April 1974), pp. 73–74.
340. Martin, William. “The Washington Color School.” In The Vincent Melzac Collection, Part One: The Washington Color School. West Palm Beach, Florida; Art Museum of the Palm Beaches, Norton Gallery, 1974, pp. 17–21.
341. Overy, Paul. “A Reappraisal of the Paintings of Morris Louis.” Times (London), 3 July 1974.
342. Richter, Wolfgang. “Ein Klassiker der Farbfeldmalerei.” Aachener Volkszeitung, 11 October 1974.
343. Roberts, Keith. “London.” Burlington Magazine 116 (August 1974), p. 488.
344. Russell, John. “The Last Great Task of Art.” New York Times, 27 July 1974, p. 25.
345. Shepherd, Michael. “Four-Part Harmony.” Sunday Telegraph (London), 30 June 1974.
346. Smith, Peter. “Morris Louis.” Flash Art (Milan), November–December 1974, pp. 35–36.
347. Tisdall, Caroline. “Star of Stripes.” Guardian (London), 28 June 1974, p. 12.
348. Vaizey, Marina. “The Shape of Change.” Sunday Times (London), 7 July 1974.
349. Alloway, Lawrence. “The Great Curatorial Dim-Out.” Artforum 13 (May 1975), pp. 32–34.
350. ———. “Letters.” Artforum 14 (September 1975), p. 9.
351. Catoir, Barbara. “Städtische Kunsthalle, Düsseldorf.” Das Kunstwerk 28 (January 1975), pp. 77–78.
352. Coplans, John. “Pasadena’s Collapse and the Simon Takeover.” Artforum 13 (February 1975), pp. 28–45.
353. Davis, Gene (with Walter Hopps). “Gene Davis and the Stripe as Subject Matter.” Art News 74 (February 1975), pp. 32–36.
354. Henderson, Joseph W. “Letters.” Art in America 63 (March–April 1975), p. 136.
355. Hudson, Andrew. “Notes on Eight Toronto Painters.” Art International 19 (October 1975), pp. 23–25, 65–68.
356. Kagan, Andrew. “Paul Klee’s Influence in American Painting: Part Two.” Arts Magazine 50 (September 1975), pp. 84–90.
357. Carmean, Jr., E. A. “A Possible Reversion in Morris Louis’ Work.” Arts Magazine 50 (April 1976), pp. 69–75.
*358. ———. Introduction to Morris Louis: Major Themes and Variations. Washington, D.C.: National Gallery of Art, 1976.
*359. ———. “Morris Louis and the Modern Tradition.” Part I: Arts Magazine 51 (September 1976), pp. 70–75; Parts II–III: Arts Magazine 51 (October 1976), pp. 112–17; Parts IV–V: Arts Magazine 51 (November 1976), pp. 122–26; Part VI: Arts Magazine 51 (December 1976), pp. 116–19.
360. Christoph, Jean. “Wohnen mit Kunst.” Architektur & Wohnen, January 1976, pp. 86–95.
361. Forgey, Benjamin. “A Belated but Deserved Tribute to Morris Louis.” Washington Star Calendar, 12 September 1976, pp. 1, 24.
362. ———. “Washington, D.C.: Catching Up with Morris Louis.” Art News, November 1976, pp. 102–4.
363. Gold, Barbara. “Morris Louis at National Gallery.” Baltimore Sun, 19 September 1976, p. D12.
364. [Headley] Upright, Diane. “Morris Louis: Disposing the Diagonal.” Arts Magazine 50 (April 1976), pp. 69–75.
*365. ———. “Morris Louis: The Mature Paintings, 1954–1962.” Ph.D. dissertation, University of Michigan, 1976.
366. Kramer, Hilton. “Some Very Beautiful—But Very Limited—Paintings.” New York Times, 26 September 1976, p. D33.
367. Richard, Paul. “Morris Louis Amid the Old Masters.” Washington Post, 14 January 1976, p. G3.
368. ———. “The National Gallery’s Toast to Morris Louis.” Washington Post, 11 September 1976, pp. E1–2.
369. ———. “Morris Louis ‘Unfurled’ Colors, Awesome Art.” Washington Post, 12 September 1976, pp. G1, G3.
370. Wall, Donald. “The Striped Paintings of Gene Davis and Morris Louis.” Arts Magazine 51 (December 1976), pp. 106–15.
371. Close, Roy M. “‘Veiled’ Paintings Are Considered Artist’s Finest.” Minneapolis Star, 10 February 1977, p. 1C.
372. Dorsey, John. “The Origins of the Master Painter—Morris Louis.” Baltimore Sun, 27 November 1977, pp. D1, D10.
*373. Elderfield, John. “Morris Louis and Twentieth-Century Painting.” Art International 21 (May–June 1977), pp. 24–32.
374. Gold, Barbara. “Louis Show Spurs Hope.” Baltimore Sun, 4 December 1977, p. D8.
*375. Headley [Upright], Diane. “Documentation: The Veil Paintings.” In Morris Louis: The Veil Cycle. Minneapolis: Walker Art Center, 1977, pp. 16–36.
*376. Millard, Charles. “Morris Louis.” The Hudson Review, Summer 1977, pp. 253–58.
377. Richard, Paul. “The Radiant ‘Veils’ of Morris Louis: Reassessing a Misunderstood Painter.” Washington Post, 1 December 1977, p. C17.
378. Swanson, Dean. Introduction to Morris Louis: The Veil Cycle. Minneapolis: Walker Art Center, 1977.
379. Weiss, Peg. “Morris Louis: The Fabric of Color.” Everson Museum of Art Bulletin, September–October 1977.
380. Wright, Martha McWilliams. “Sovereign Color: Morris Louis in Washington.” New Lugano Review 3 (1977), pp. 56–61, 64.
381. Berkowitz, Leon (with David Tannous). “Those Who Stay.” Art in America 66 (July–August 1978), pp. 78–79.
382. Davis, Gene. “Starting Out in the ’50s.” Art in America 66 (July–August 1978), pp. 88–94.
383. Forgey, Benjamin. “Morris Louis: An Artist with a Commitment, and a Devotion to the Abstract.” Washington Star, 4 January 1978, p. C3.
384. Frackman, Noel. “Morris Louis.” Arts Magazine 52 (June 1978), p. 38.
*385. Upright [Headley], Diane. “In Addition to the Veils.” Art in America 66 (January–February 1978), pp. 84–94. Reply by Clement Greenberg, “Letter to the Editor,” Art in America 66 (March–April 1978), p. 5. Reply by Diane Headley [Upright], “Letter to the Editor,” Art in America 66 (March–April 1978), p. 5. Reply by Clement Greenberg, “Letter to the Editor,” Art in America 66 (May–June 1978), p. 5.
386. Wilmerding, John. “Harvard and American Art.” Apollo 107 (June 1978), pp. 490–95.
387. Burn, Guy. “Morris Louis.” Arts Review (London), 25 May 1979, p. 266.
388. Forgey, Benjamin. “Morris Louis: The Breakthrough Theory.” Washington Star, 14 December 1979, pp. D1, D6.
*389. [Headley] Upright, Diane. The Drawings of Morris Louis. Washington, D.C.: Smithsonian Institution, 1979.
390. Masheck, Joseph. “Nothing Not Nothing Sometime.” Artforum 18 (November 1979), pp. 42–51.
*391. Moffett, Kenworth. Morris Louis in the Museum of Fine Arts, Boston. Boston: Museum of Fine Arts, 1979.
392. Richard, Paul. “Morris Louis’ Painful Path to Greatness.” Washington Post, 6 December 1979, p. C3.
393. Baker, Kenneth. “Reckoning with Notation: The Drawings of Pollock, Newman and Morris Louis.” Artforum 18 (Summer 1980), pp. 32–36.
394. Cavaliere, Barbara. “Morris Louis.” Arts Magazine 54 (February 1980), p. 32.
395. Ferber, Linda. “Drawings of Morris Louis.” Drawing, January–February 1980, p. 98.
396. Ronnen, Meir. “From Stain to Revelation.” The Jerusalem Post Magazine, 28 November 1980, p. N.
397. Russell, John. “The Superior Draftsman Behind the Well-known Painter.” New York Times, 6 January 1980, p. D23.
398. Schjeldahl, Peter. “Anxieties of Eminence.” Art in America 68 (September 1980), pp. 106–15.
399. Bréerette, Genevieve. “Quatre abstraits américains a Bordeaux.” Le Monde (Paris), 12 March 1981, p. 15.
400. S. G. “Gimpel-Hanover und Andre Emmerich, Zurich: Louis and Paolucci.” Basler Zeitung, 2 April 1981, p. 47.
*401. Ayers, Robert. “Colour and Motion: Morris Louis.” Artscribe, no. 33 (February 1982), pp. 38–46.
402. Fenton, Terry. “The Paintings of Morris Louis.” Arts Magazine 57 (September 1982), pp. 66–68.
*403. Lipsey, Roger. “Diptych: (1) Veiled Meaning in Morris Louis; (2) Form and Meaning in Criticism Today.” Arts Magazine 57 (November 1982), pp. 142–44.
404. Raynor, Vivien. “Morris Louis.” New York Times, 17 September 1982, p. C16.
405. Smith, Roberta. “Skittishness on Hold.” Village Voice (New York), 28 September 1982, p. 101.
406. Upright, Diane W. “Paintings by Morris Louis in the Graham Gund Collection,” In A Private Vision: Contemporary Art from the Graham Gund Collection. Boston: Museum of Fine Arts, 1982, pp. 13–15.
407. Kunkel, Paul. “Gauging the Contemporary Art Market.” Architectural Digest (March 1983), pp. 54–60.
408. Barnett, Vivian Endicott. 100 Works by Modern Masters from the Guggenheim Museum. New York: Harry N. Abrams, Inc., p. 190.
409. Kastor, Elizabeth. “Morris Louis Works Go To Fort Worth.” The Washington Post, 31 December 1985, front cover.
410. Larson, Kay. “The Conquest of Color.” New York Times, 23 September 1985, pp. 88, 91.
411. Raynor, Vivien. “Morris Louis.” New York Times, 13 September 1985, p. C24.
*412. Upright, Diane. Morris Louis: The Complete Paintings: A Catalogue Raisonné. New York: Harry N. Abrams, Inc., 1985. Book reviews by: Beddow, Reid, “Morris Louis: The Complete Paintings: A Catalogue Raisonné,” Washington Post, 8 December 1985, pp. 6–7; Kutner, Janet, “Morris Louis: The Complete Paintings,” Dallas Morning News, 16 December 1985; Myrer, Tim S., “Morris Louis: The Complete Paintings by Diane Upright,” Art & Auction (December 1985), p. 34; Ratliff, Carter, “Morris Louis: The Complete Paintings,” Artforum (December 1985), p. 16; Stevens, Mark, “Morris Louis: The Complete Paintings,” Newsweek, 16 December 1985, p. 79D.
413. Allen, Jane Addams. “Virtuosity Trapped in Tight Frame.” Insight, 3 November 1986, p. 66.
414. Baker, Kenneth. “Spatial Effects Master.” San Francisco Chronicle, 22 October 1986, p. 59.
415. Bourdon, David. “Between Pollock and Possibility.” Vogue (October 1986), p. 94.
416. Brenson, Michael. “Art: Morris Louis Show.” New York Times, 10 October 1986, p. C32.
417. Brunet, Monique. “Des Galeries de New York: L’Empire des Rayures.” Le Devoir Culturel, 25 October 1986, p. D8.
*418. Elderfield, John. Morris Louis. New York: The Museum of Modern Art, 1986.
419. Flam, Jack. “Morris Louis at MoMA.” Wall Street Journal, 19 November 1986, p. 30.
420. Hughes, Robert. “A Look at a Beautiful Impasse.” Time, 10 November 1986, p. 59.
421. Hunter, Sam. An American Renaissance—Painting and Sculpture Since 1940. New York: Abbeville Press, 1986.
422. Larson, Kay. “In the Blink of an Eye.” New York, 20 October 1986, pp. 88–89.
423. Richard, Paul. “Morris Louis: Recovering the Joy.” Washington Post, 5 October 1986, p. H1.
424. Ruhrberg, Karl. “Kunst im 20. Jahrhundert.” Museum Ludwig, Cologne, Germany, 1986.
425. Russell, John. “A Varied and Buoyant Season in the Museums.” New York Times, 7 November 1986, p. C27.
426. Schmalenbach, Werner. Bilder des 20. Jahrhunderts. Munich: Prestel, 1986, pp. 325–26.
427. Cohen, Ronny. “Morris Louis at the Andre Emmerich Gallery.” Artforum (January 1987), p. 108.
428. Collins, Brafford. “Clement Greenberg and the Search for Abstract Expressionism’s Successor.” Arts Magazine (March 1987), pp. 36–42.
429. Gibson, Ann. “Monochrome Malerei in Amerika Seit 1950.” Kunstforum (March/April 1987), pp. 114–26.
430. Kenner, Rob. “Pen, Palette, Poison.” Art & Antiques (December 1987), pp. 29, 33.
431. Lewis, Jo Ann. “In Search of a Collector’s Showcase.” Washington Post, 14 April 1987, pp. D1–2.
432. ———. “The Making of Morris Louis.” Washington Post, 21 May 1987, pp. D1–9.
433. “Post-Painterly Abstraction and the Art of Morris Louis.” World Fine Art, 30 April 1987, p. 2.
434. Dorsey, John. “Exhibit of Drawings Outlines Progress of Art School Alumnus.” Baltimore Sun, 6 June 1989, pp. 1C, 6C.
435. Perlman, Bennard. “Distinguished Graduate Returns To the Maryland Institute of Art.” The Daily Record (Baltimore), 6 June 1989, p. 16.
436. Poole, Barbara. Intermediate Algebra. New York: Prentice Hall, 1989. Number 33 reproduced on cover.
437. Schwartz, Sanford. “Andy Warhol the Painter.” The Atlantic (August 1989), pp. 74–75.
438. Westfall, Stephen. “Reading Stains and Stripes: Morris Louis and Gene Davis Reconsidered.” Arts Magazine (April 1989), pp. 60–64.
439. Wood, Michael. Art of the Western World. New York: Simon & Schuster, 1989, pp. 306, 308, and 316.
440. De Stasio, Marina. “Morris Louis, quando il colore viene ‘colato.’” Italia Oggi, 4 April 1990.
441. Somaini, Suisa. “Morris Louis: retrospettiva al P.A.C. Tele Da Campo.” Tutto Milano, 29 March–4 April 1990, p. 27.
442. Tedeschi, Francisco. “A Milano mostra di Morris Louis.” Il Giornale, 4 April 1990.
443. Twardy, Chuck. “Showing Their Stripes: What Artists Learned in a Color School.” Orlando Sentinel, 16 December 1990, p. F6.
444. Buchanan, Christopher, and Pierce, Robert. Pictures to an Exhibition: Morris Louis Goes to Milan. Washington, D.C.: Robert Pierce Productions, Inc., 1991. Film.
445. “Andre Emmerich Gallery, New York,” Flash Art no. 163 (March/April 1992), p. 147.
447. Kimmelman, Michael. “Morris Louis.” New York Times, 28 February 1992, p. C18.
448. Strick, J. “Notes on some instances of irony in modern pastoral,” Studies in the History of Art 36 (1992), pp. 196-207.
449. Westfall, S. “Andre Emmerich Gallery, New York,” Art in America 80 (September 1992), pp. 129-30.
Morgan, Stuart. "Morris Louis." Frieze no. 9 (March-April 1993).
450. Hurwitz, L. S. “Acrylics Part I: A New Kind of Painting Emerges,” American Artist 58 (September 1994), pp. 20-5.
451. Rothbart, Daniel. Jewish Metaphysics as Generative Principle in American Art. Napoli: Ulisse & Calipso, 1994.
452. Wilkin, Karen. “Art: Color Painting of the 1960s: Dynamic Abstractions by Five American Masters,” Architectural Digest 51 (August 1994), pp. 76-81.
453. Schwabsky, Barry. “Morris Louis: Andre Emmerich Gallery, New York,” Artforum 33 no. 8 (April 1995), p. 89.
454. “Louis pour Grenoble,” Connaissance des Arts no. 532 (October 1996), p. 10.
455. Buretel, Henri de. “Morris Louis romantisme et formalisme (Morris Louis zwischen Romantik und Formalismus).” In Morris Louis. Paris: Museé de Grenoble/Réunion des musées nationaux, 1996, pp. 12-21.
456. De Chassey, Éric. “Tradition moderniste ou Morris Louis au-dela de Greenberg (Eine modernistische Tradition oder Morris Louis jenseits von Greenberg.” In Morris Louis. Paris: Museé de Grenoble/Réunion des musées nationaux, 1996, pp. 22-47.
457. Dufrene, Thierry. “Comment accrocher un Morris Louis? (Wie muß ein Morris Louis gehängt werden?).” In Morris Louis. Paris: Museé de Grenoble/Réunion des musées nationaux, 1996, pp. 48-65.
458. Granot, Archie. Jewish Art? Judaic Content? Representational? Abstract?: works by Archie Granot, William Giacalone, Chick Schwartz, David Einstein and Morris Louis at the B’nai B’rith Klutznick National Jewish Museum. Washington D.C.: The B’nai B’rith Klutznick National Jewish Museum Museum, 1996.
459. Wat, P. “Morris Louis: la couleur en direct,” Beaux Arts Magazine no. 149 (October 1996), p. 32.
460. Anfam, David. “Morris Louis: Musee de Grenoble, France,” The Burlington Magazine 139 (March 1997), pp. 215-16.
461. Gauthier, M. “La diagonale du fond: a propos des Unfurled paintings de Morris Louis,” Cahiers du Musee National d’Art Moderne No. 60 (Summer 1997), pp. 24-59.
462. Holland, Cotter. "The Holocaust Through Visions Abstract and Figurative," New York Times 17 January 1997, p. C27.
463. Kuspit, Donald. "Burnt Offering: The Dark Side of Morris Louis," Forward 7 February 1997, p. 1 & 10.
464. Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago and London: The University of Chicago Press, 1998.
465. Johnson, Ken. “Art in Review: Morris Louis,” New York Times 5 November 1999, p. 41.
Naves, Mario. "The Latest Gasp: Morris Louis' Abstractions," New York Observer 6 December 1999.
466. Rosenblum, Robert. On Modern American Art: Selected Essays. New York: Harry N. Abrams, 1999.
467. Indyke, D. “35th Anniversary: Riva Yares,” Art News 99 no. 11 (December 2000), p. 162.
468. Kalina, R. “Morris Louis at Ameringer/Howard,” Art in America 88 no. 3 (March 2000), p. 122.
469. Baigell, Matthew & Milly Heyd, ed. Complex Jewish Consciousness and Modern Art. New Brunswick: Rutgers University Press, 2001.
470. Calame, I. “Morris Louis at Manny Silverman,” Art Issues no. 68 (Summer 2001), p. 48.
471. Dannatt, Adrian. “Kasmin’s Sixties,” Art Newspaper 12 no. 114 (May 2001), p. 30.
472. Kunitz, Daniel. “Gallery Chronicle,” The New Criterion 20 no. 4 (December 2001), pp. 58-61.
473. Sagner-Düchting & Gottfried Boehm. Monet and Modernism. Munich & New York: Prestel, 2001.
474. Vincent, S. “The Flat Pack,” Art & Auction 23 no. 1 (January 2001), pp. 90-7.
475. Humblet, Claudine, ed. La Nouvelle Abstraction Américaine, 1950-1970. Milan: Skira & Paris: Seuil, 2003, vol. I, pp. 142-171.
476. Singerman, H. “Noncompositional Effects, or the Process of Paintings in 1970,” Oxford Art Journal 26 no. 1 (2003), 125-50.
477. Leith, Anne. “Morris Louis,” Modern Painters 17 no. 1 (Spring 2004), p.129.
478. Harris, Jonathan. Writing Back to Modern Art after Greenberg, Fried, and Clark. London & New York: Routledge, 2005.
479. Gopnik, Blake. “Morris Louis: A Painter of a Different Stripe.” Washington Post 12 November 2006, p. N01.
480. Kertess, Klaus. “Beauty’s Stain.” In Morris Louis Now: An American Master Revisited. Atlanta: High Museum of Art, 2006, pp. 9-20.
481. Nemerov, Alexander. “Morris Louis: Court Painter of the Kennedy Era.” In Morris Louis Now: An American Master Revisited. Atlanta: High Museum of Art, 2006, pp. 21-38. Lecture at the High Museum of Art, Atlanta, Georgia, 16 November 2006 (video).
482. Schwabsky, Barry. “Morris Louis.” Artforum 45 no. 1 (September 2006), p. 152.
483. Steiner, Shepard F. “Loose Ends: Untitled, Unstretched, Rolled Round.” In Morris Louis Now: An American Master Revisited. Atlanta: High Museum of Art, 2006, pp. 39-60.
484. Carrier, David. “Morris Louis: High Museum of Art.” Artforum 45 no. 5 (January 2007), p. 256.
485. Godfrey, Mark. Abstraction and the Holocaust. New Haven and London: Yale University Press, 2007.
486. Gopnik, Blake. “Back to Color School: Four Lessons on Morris Louis.” Washington Post 30 September 2007, pp. M8-M9.
487. Grove, Jeffrey. Friday Gallery Talks: Jeffrey Grove on Morris Louis. Hirshhorn Museum and Sculpture Garden, Washington, D.C., 24 September 2007. Podcast.
488. Gurewitsch, Matthew. “Appraising and Preserving a Master.” Wall Street Journal 25 October 2007, p. D7.
489. Hardy, George S. “The Washington Color Painters.” In Breaking the Mold: Selections from the Washington Gallery of Modern Art, 1961-1968. Oklahoma City: Oklahoma City Museum of Art, 2007, pp. 54-89.
490. Jenkins, Mary. “Revisiting Morris Louis’s Lighter Touch.” Washington Post 28 September 2007, p. WE54.
491. Klimek, Chris. “Simple Patterns in Slow Motion.” Examiner 29 September 2007.
492. Steinberg, Leo, Other Criteria: Confrontations with Twentieth-Century Art. Chicago: The University of Chicago Press, 2007.
493. Upright, Diane. Diane Upright on Morris Louis. Hirshhorn Museum and Sculpture Garden, Washington, D.C., 21 September 2007. Podcast.
494. Wilken, Karen. “Morris Louis Reconsidered.” The New Criterion 25 (February 2007), 45.
495. Wilken, Karen; with an essay by Carl Belz. Color as field: American Painting, 1950-1975. New Haven and London: American Federation of Arts in association with Yale University Press, 2007.
496. Ashe, Lisa Frye. “Seeing Morris Louis Now.” Art Journal 67 no. 4 (Winter 2008), pp. 113-116.
1940-1976. New York: The Jewish Museum; New Haven and London: Yale University Press, 2008.
498. Smith, Roberta. “Art in Review: Morris Louis.” New York Times 11 January 2008.
499. Smith, Roberta. “Weightless Color, Floating Free.” New York Times 7 March 2008, p. 31.
500. Wolff, Janet. The Aesthetics of Uncertainty. New York: Columbia University Press, 2008.
501. Hanfling, Edward. “Morris Louis in Australia and New Zealand.” The Burlington Magazine 151 no. 1281 (December 2009), pp. 830-835.
502. Onnasch, Reinhard & Susanne Lenze, ed. Nineteen Artists. Bielefeld: Kerber; Manchester: Cornerhouse, 2010.
503. Cooper, Harry. Morris Louis's Seal at The Phillips. The Phillips Collection, Washington, D.C., 8 September 2011. Podcast.
504. "Bridging the Gap between Art and Science: The Mellon Fellowship." Harvard Art Museums/Index, September 6, 2013. Online publication.
505. Cohen, Jean Lawlor; Lawrence, Sidney; Tebow, Elizabeth; Forgey, Benjamin. Washington Art Matters: Art Life in the Capital. Washington, D.C.: Washington Art Museum, 2013.
506. Pocock, Antonia. Morris Louis, The Unknown Masterpieces. The Baltimore Museum of Art, Baltimore, Maryland, 9 November 2013. Podcast.
507. Ruiz, Steve. "From Wings to Fins: Morris Louis and Cyprien Gaillard at Sprüth Magers." Daily Serving 12 November 2013. Online publication.
508. Wilken, Karen. "An Early Leader in Postwar Abstraction." The Wall Street Journal 15 October 2013.
509. "Morris Louis Veils Series To Be Exhibited In New York Gallery." artlyst 17 June 2014. Online publication.
510. Conley, Kevin. "Pouring Their Art Out: Two Giants of the Midcentury Return to New York." Town & Country 13 October 2014.
511. Corio, Paul. "Seen in New York, September 2014." abstract critical 3 October 2014. Online publication.
512. Morgan, Robert C. "Color/Space Saturation: Veils by Morris Louis." Whitehot Magazine September 2014. Online publication.
513. Russeth, Andrew. "'Re-View: Onnasch Collection' at Hauser & Wirth." Gallerist 2 February 2014. Online publication.
514. Rosenberg, Karen. "Color, Chemistry and Creativity: Helen Frankenthaler at Gagosian and Morris Louis at Mnuchin." New York Times, 19 September 2014, p. C26.
515. Schjeldahl, Peter. "When It Pours: Works by Helen Frankenthaler and Morris Louis." The New Yorker 22 September 2014, pp. 110-111.
516. Wilken, Karen. "Morris Louis's Veils: Thundering Silence." In Morris Louis Veils. New York: Mnuchin Gallery, 2014, pp. 8-17.
517. "Works by Morris Louis and Landon Metz on view at Paul Kasmin Gallery in New York." Artdaily.org. Online publication.
518. Adams, James, " AGO's Abstract Exhibition Recalls an Era When Painting Was Still Top Dog." The Globe and Mail, 8 January 2016. Online publication.
519. Mason, Brook. "In Colour: the Colour Field Movement's Past and Present Merge at Paul Kasmin." Wallpaper*, 4 March 2016. Online publication.
1. “Acrylic Paints for the Fine Arts,” Resin Review (Rohm and Haas Company, Philadelphia) 16 (1966), n.d.
2. Acryloid: Acrylic Ester Resins for Coatings. Rev. ed. Philadelphia: Rohm and Haas Company, 1962.
3. Acryloid: Thermoplastic Acrylic Ester Resins. Philadelphia: Rohm and Haas Company, 1975.
4. Blegen, James R. “Alkyd Resins.” Federation Series on Coating Technology, Unit 5. Philadelphia: Federation of Societies for Paint Technology, 1967.
5. Bocour, Leonard, and Nelson, Kenneth. “How Acrylics Are Made,” American Artist 38 (August 1974).
6. Brenner, Abner. “High Polymers for Forming an Invisible, Soil-Resistant Coating on Canvas.” In The Great Decade of American Abstraction: Modernist Art 1960–1970. Houston: Museum of Fine Arts, 1974, pp. 130–38.
7. Crook, Jo, and Tom Learner. The Impact of Modern Paints. London: Tate Gallery Publishing, 2000.
8. Davidson, Robert L., and Sittig, Marshall, Water Soluble Resins. New York: Reinhold Publishing Corporation, 1962.
9. Feller, Robert L.; Jones, Elizabeth H.; and Stolow, Nathan. On Picture Varnishes and Their Solvents. 1959. Reprint. Oberlin, Ohio: Intermuseum Conservation Association, 1974.
10. Gettens, Rutherford J., and Stout, George L. Painting Materials: A Short Encyclopedia. New York: Dover, 1966.
11. Gross, Earl. “Earl Gross Discusses Polymer Color in Depth.” American Artist 31 (May 1967), pp. 28–29.
12. Gutierrez, José. From Fresco to Plastics. Ottawa: The National Gallery of Art, n.d.
13. Gutierrez, José, and Roukes, Nicholas. Painting with Acrylics. New York: Watson-Guptill, 1965.
14. Hollander, Harry. Plastics for Artists and Craftsmen. New York: Watson-Guptill, 1972.
15. Horn, Milton. Acrylic Resins. New York: Reinhold Publishing Corporation, n.d.
16. Jensen, Lawrence N. Synthetic Painting Media. Englewood Cliffs, New Jersey: Prentice-Hall, 1964.
17. Learner, Thomas J. S. Analysis of Modern Paints. Losa Angeles: Getty Publications, 2004.
18. Martens, Charles R., ed. Technology of Paints, Varnishes and Lacquers. New York: Reinhold Publishing Corporation, 1968.
19. Mayer, Ralph. The Artist’s Handbook of Materials and Techniques. 3rd ed. New York: Viking Press, 1970.
20. Mills, John F. Acrylic Painting. London: Sir Isaac Pitman and Sons, Ltd., 1965.
21. Rhoplex Acrylic Emulsions and Additives for Water-Based Paints. Philadelphia: Rohm and Haas Company, 1973.
22. Rudenstine, Angelica. “Morris Louis’ Medium.” In Michael Fried, Morris Louis 1912–1962, Boston: Museum of Fine Arts, 1967, pp. 79–80.
23. Simonds, Herbert R. Source Book of the New Plastics. New York: Reinhold Publishing Corporation, n.d.
24. Simonds, H. R.; Weith, A. J.; and Bigelow, M. H. Handbook of Plastics. Princeton, New Jersey: Van Nostrand, 1949.
25. Society of the Plastics Industry Engineering Handbook. New York: Reinhold Publishing Corporation, 1960.
26. “Synthetic Materials Used in the Conservation of Cultural Property.” International Center for the Study of the Preservation and the Restoration of Cultural Property. Rome: 1963.
27. Taubes, Frederic. New Techniques in Painting. New York: Dodd, Mead and Company, 1962.
28. Taylor, Brie. “Towards a Plastic Revolution.” Art News 63 (March 1964), pp. 46–49.
29. Watherston, Margaret. “The Cleaning of Color Field Paintings.” In The Great Decade of American Abstraction: Modernist Art 1960–1970. Houston: Museum of Fine Arts, 1974, pp. 119–29.
30. Watson, Dori. Techniques of Painting. New York: Van Nostrand Reinhold Company, n.d.
31. Woody, Jr., Russell O. Painting with Synthetic Media. New York: Van Nostrand Reinhold Company, n.d.
32. ———. Polymer Painting. New York: Van Nostrand Reinhold Company, n.d.

References: Art 20
 Art 56
 Art 61
 Art 36
 Art 1960
 Art 1960