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©
Morris Louis, VEGAP, Madrid
Morris Louis

Pillars of Hercules

1960
Acrylic on canvas.
231.1 x 267.3 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
653
(
1983.18
)
ROOM 46
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room

Morris Louis has been regarded as a bridge between the Abstract Expressionists and Post-Painterly Abstraction. Like many American artists of his generation, Louis was concerned with material processes and optical problems, but evolved towards a less heroic and more lyrical style of painting, which made him one of the favourite artists of the formalist critics Clement Greenberg and Michael Fried. His personal style began to take shape in 1953 when he travelled from Washington to New York, where he not only saw Pollock’s first paintings for himself but also, together with Greenberg and his painter friend Kenneth Noland, visited Helen Frankenthaler. The sight of Mountains and Sea on her studio easel was a sort of apparition that would mark his subsequent artistic development.

Pillars of Hercules belongs to a set of Pillars painted in summer 1960, in which Louis refined the technique of spilling thin layers of paint onto the canvas, which he had begun in the cycle of Veils in previous years. In the large works belonging to this series, the artist poured on the paint in parallel bands of opaque colours that ran across the canvas. In this technique the acrylic colours, greatly diluted with turpentine, very quickly soaked the canvas, staining it and becoming an irreversible part of it. Jackson Pollock’s drip technique eliminated the painter’s contact with the canvas surface, and Louis also abstained from intervening in the execution process by allowing the colours to follow their own logic, driven by the force of gravity, resulting in compositions with a highly spontaneous appearance. However, this spontaneity is offset by the ordered, symmetrical compositional scheme that is fully under the artist’s control. In the composition of Pillars of Hercules, the bands of colour leave the canvas bare in the centre, creating the sensation of a void. The same metaphor of emptiness is found in the last series Louis produced, the so-called Unfurled paintings, which display the same parallel bands of paint that trickles across the surface but diagonally, from the corners of the painting, enabling him to heighten the effect of a central opening into the abyss.

Paloma Alarcó

20th Centurys. XX - Expresionismo abstracto norteamericanoPaintingAcryliccanvas
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Pillars of Hercules. Columnas de Hércules, 1960
Pillars of Hercules
Morris Louis

©

Morris Louis, VEGAP, Madrid

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The exploitation rights of the images correspond to the Fundacion Coleccion Thyssen-Bornemisza, F.S.P. The Fundación authorizes the downloading of high-resolution images from its website for private use, use for educational and research purposes and non-commercial uses.

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Pillars of Hercules. Columnas de Hércules, 1960
Pillars of Hercules
Morris Louis

©

Morris Louis, VEGAP, Madrid

Terms of Use

The Photo Library of the Museo Nacional Thyssen-Bornemisza offers sale and rental service of photographic material of all the works on its Permanent Collection.

To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Photo Library by email at the e-mail @email.

To request images or permits for other commercial or advertising uses (general publications, merchandising, exhibitions, audio-visual works, web pages, etc.), you should contact the Museum's Commercial Archive by email at the e-mail @email.

The Photo Library and the Museum's Commercial Archive manage the worldwide distribution of images of the Museo Thyssen-Bornemisza works, as well as their reproduction rights. The applicable rates are calculated based on the nature and proposed use of the images, as well as the availability of the requested image.

Requests for scans or new photographs will be reviewed on a case-by-case basis. Once approved, an additional fee will apply. Re-photographing a work will require a minimum of six weeks to complete.

However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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