Blue Veil
Identification and Creation
Object Number
1965.28
People
Morris Louis, American (Baltimore, MD 1912 - 1962 Washington, DC)
Title
Blue Veil
Classification
Paintings
Work Type
painting
Date
c. 1958
Places
Creation Place: North America, United States
Culture
American
Physical Descriptions
Medium
Acrylic resin paint on canvas
Dimensions
233.1 x 396.2 cm (91 3/4 x 156 in.)
framed: 236.2 x 399.4 x 5.4 cm (93 x 157 1/4 x 2 1/8 in.)
Provenance
Morris Louis, Painted, 1958, to wife Marcella Louis, later Mrs. Abner Brenner.
Mrs. Abner Brenner, from her husband, the artist, Sold to Fogg Art Museum, 1965. Sold via Andre Emmerich gallery.
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Gift of Lois Orswell and Gifts for Special Uses Fund
Copyright
© Artists Rights Society (ARS) / New York
Accession Year
1965
Object Number
1965.28
Division
Modern and Contemporary Art
Contact
am_moderncontemporary@harvard.edu
Publication History

Jules David Prown and Barbara Rose, American Painting: From the Colonial Period to the Present, Skira/Rizzoli (New York), ill.

Morris Louis Memorial Exhibition, exh. cat., Solomon R. Guggenheim Museum (New York, NY, 1963), no. 122, reproduced in color no. 9

Hilton Kramer, "Notes on Paintings in New York", Arts Yearbook (New York, NY, 1964), VII, reproduced in B/W, p. 15

Jose Gutierrez and Nicholas Roukes, Painting with Acrylics, Watson-Guptill Publications (New York, NY, 1965), reproduced p. 32

Michael Fried, "'Blue Veil' by Morris Louis", Fogg Art Museum Acquisitions, 1965, Fogg Art Museum (Cambridge, MA, 1966), pp. 177-181, reproduced on p. 179

Barbara Rose, American Painting: The Twentieth Century, Skira (New York, NY, 1969), ill. p. 103

Michael Fried, Morris Louis, Harry N. Abrams, Inc. (New York, NY, 1971), reproduced, plate 33

Kenyon Castle Bolton, III, Peter G. Huenink, Earl A. Powell III, Harry Z. Rand, and Nanette C. Sexton, American Art at Harvard, exh. cat., Fogg Art Museum (Cambridge, MA, 1972), cat. 162, ill.

American History: A Survey, Alfred A. Knopf, Inc. (New York, NY, 1975), Reproduced in color, plate 9

Kristin A. Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), no. 237, p. 207, repr. in color

Diane Upright, Morris Louis: The Complete Paintings, Harry N. Abrams, Inc. (New York, NY, 1985), np. 126, p. 203, reproduced in color, p. 144

Caroline A. Jones, Modern Art at Harvard: The Formation of the Nineteenth- and Twentieth-Century Collections of the Harvard University Art Museums, exh. cat., Abbeville Press/Harvard University Art Museums (New York, NY and Cambridge, MA, 1985), reproduced in color, fig. 68, p. 74

Jan Greenberg and Sandra Jordan, The Painter's Eye: Learning to Look at Contemporary American Art, Delacourte Press (New York, NY, 1991), reproducd in color, pp. 54-55

H. W. Janson and Anthony F. Janson, History of Art for Young People, Harry N. Abrams, Inc. (New York, NY, 1992), reproduced in color no. 451, p. 444

Duane Preble and Sarah Preble, Artforms: An Introduction to the Visual Arts, Harper Collins College Publishers (New York, NY, 1994), reproduced in color, fig. 213, p. 155

H. W. Janson and Anthony F. Janson, History of Art [5th ed.], Harry N. Abrams, Inc. (New York, NY, 1995), p. 800, reproduced in color fig. 1102

Stephan Wolohojian, ed., Harvard Art Museum Handbook, Harvard Art Museum (Cambridge, MA, 2008), ill. p. 228

John Wilmerding, "Harvard and American Art", Apollo (June 1978), vol. CVII, no. 196, pp. 490-495, p. 492, pl. XXIV

Exhibition History

American Art at Harvard, Fogg Art Museum, Cambridge, 04/19/1972 - 06/18/1972

Contemporary Art in the Fogg Collections, Fogg Art Museum, Cambridge, 05/01/1979 - 06/01/1979

Modern Art at Harvard, Harvard University Art Museums, Cambridge, 10/21/1985 - 01/05/1986

Morris Louis in Boston, Museum of Fine Arts, Boston, Boston, 07/01/1986 - 09/07/1986

Morris Louis, Museum of Modern Art, New York, New York, 10/01/1986 - 01/04/1987

Subjects and Contexts

Collection Highlights

Verification Level

4 - Best. Object is extensively researched, well described and information is vetted