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The image shows a page from a magazine or journal, specifically an article titled "Drawing color out of line" by Kenneth Baker. The article discusses the work of Morris Louis, an American painter known for his color-field paintings.

Key points from the article include:

1. Morris Louis's Artistic Evolution: The article mentions that Louis's color-field paintings from the late 1950s and early 1960s are more famous than his earlier works, which include drawings and paintings that are less well-known.

2. Drawing and Painting: Louis's drawings are described as having a unique quality that sets them apart from his paintings. The article notes that these drawings are not mere sketches but standalone works that reflect his artistic vision.

3. Influence and Style: The text discusses how Louis's drawings were influenced by various artistic movements and styles, including Surrealist drawing. It highlights that his drawings are not preparatory sketches but complete works in their own right.

4. Critical Reception: The article mentions that Louis's drawings have been appreciated by critics like Clement Greenberg and Kenneth Noland, who saw them as significant contributions to his overall body of work.

5. Exhibition: The article is written in the context of an exhibition of Louis's drawings at the San Francisco Museum of Modern Art, which ran through April 8. The exhibition aimed to showcase the lesser-known aspects of Louis's work.

The page also includes an image of one of Morris Louis's drawings, titled "D-3992," created in 1953. The drawing features abstract, linear forms that are characteristic of his style.

Overall, the article provides an in-depth look at Morris Louis's drawings, emphasizing their importance and unique qualities within the broader context of his artistic career.

The image shows a two-page spread from a publication, likely a magazine or journal, featuring an article titled "Drawing color out of line" by Kenneth Baker. The title is prominent at the top of the left page, with the subtitle indicating that the article focuses on the work of artist Morris Louis.

The left page contains the text of the article. The first few paragraphs are visible, discussing Morris Louis' approach to painting and his influence on the art world. The text is justifiable left, with a column width that suggests a clean, readable layout.

The right page features an illustration, which appears to be one of Morris Louis' artworks. The artwork is an abstract piece, with a series of organic, curvilinear forms that create a sense of movement and depth. The image is black and white, which might be indicative of the reproduction quality in the publication.

In the lower left corner of the right page, there is a caption that reads: "Morris Louis' 'D399,' 1953." This identifies the artwork and its year of creation. The overall layout of the pages suggests a focus on the intersection of color, line, and form in Louis' work, as indicated by the article's title and the included artwork.

The image is a page from a magazine or newspaper featuring an article titled "Drawing color out of line" by Kenneth Baker. The article discusses the artistic evolution of Morris Louis, focusing on his shift from traditional painting methods to abstract, color-filled canvases.

Here are some key points from the article:

1. Morris Louis' Early Work: The article starts by highlighting the early work of Morris Louis, which was initially seen as a precursor to his later abstract style.

2. Reevaluation of Formalism: The piece mentions that Louis' mature paintings were not initially appreciated due to formalist theories that focused on visual form and structure rather than content.

3. Louis' Discovery: The text describes how Louis' later works were discovered and how they challenge traditional formalist views. The drawings and paintings were found to be a result of a new approach to color and space.

4. Louis' Process: The article explains that Louis' drawings and paintings are not just about eliminating lines but also about creating a new kind of space. He initially struggled with this new method, which involved thinking in terms of color rather than traditional drawing techniques.

5. Influence on Contemporary Art: The piece touches on how Louis' work influenced other artists who were also trying to redefine space and composition in their art. This includes artists like Jackson Pollock and Philip Guston.

6. Historical Context and Impact: The discovery and recognition of Louis' drawings and paintings reflect a broader shift in the understanding of abstract art, moving away from rigid formalist theories to embrace more fluid and expressive approaches.

The accompanying image of Morris Louis’ artwork titled "D399," dated 1953, visually represents the abstract style and color exploration that the article discusses. The artwork shows complex, intertwined lines and areas of color that create a dynamic and layered visual experience.

The image shows a newspaper article titled "Drawing color out of line" by Kenneth Baker. The article discusses the work of the artist Morris Louis, focusing on his drawings and their significance in relation to his paintings.

Key points from the article include:

1. Morris Louis's Artistic Evolution: The article mentions that Louis's mature paintings were perceived as a continuation of his earlier work, which was influenced by the formalist approach. His later paintings are described as a breakthrough, revealing a new method of painting that discovered possibilities in art.

2. Discovery of Drawings: The article highlights the recent discovery of hundreds of drawings by Louis, which date back to the 1950s. These drawings were kept hidden from public view, suggesting that Louis might have been self-critical or trying to conceal his earlier struggles.

3. Reevaluation of Louis's Career: The rediscovery of these drawings provides a new perspective on Louis's artistic journey. The article suggests that Louis's early drawings were a significant part of his artistic development, leading up to his more celebrated paintings.

4. Artistic Method: The text discusses Louis's approach to eliminating the traditional boundaries of art, particularly his struggle with and eventual mastery of drawing and painting techniques that allowed him to create a new kind of pictorial space.

5. Influence and Legacy: The article points out that Louis's work influenced other artists, such as Frankenthaler, and that his innovative techniques were groundbreaking for their time. The drawings and paintings together illustrate Louis's continuous struggle and breakthroughs in the field of modern art.

6. Reinterpretation of Louis's Work: The article posits that Louis's paintings and drawings, when considered together, reveal a deeper understanding of his artistic process and the evolution of his methods.

The article includes an image of one of Louis's drawings, titled "D399," dated 1953, which visually complements the text by showing an example of his intricate and complex work.

The image is a page from a magazine or newspaper featuring an article titled "Drawing color out of line" by Kenneth Baker. The article discusses the work of Morris Louis, an artist known for his innovative approach to painting.

Key points of the article include:

1. Introduction and Background:

   • The article starts by acknowledging that Louis's late paintings have obscured his earlier work, which was influenced by the formalist view of art.
   • Louis's mature art was initially seen as a kind of scientific discovery, almost a premonition of what he would eventually achieve.

2. Discovery of Drawings:

   • The article highlights the discovery of hundreds of drawings from Louis's early years, which has led to a revision of the formalist view.
   • These drawings, held by the Fogg Museum at Harvard, were previously unknown and were chosen by Diane Headley for an exhibition.

3. Analysis of Louis's Work:

   • The article delves into Louis's struggle to reconcile his drawing and painting techniques, noting that he drew continuously even when he had no real facility for drawing.
   • It mentions Louis's attempt to forget or unlearn conventional drawing techniques, guided by his desire to explore new ways of expressing art.

4. Louis's Unique Approach:

   • Louis's drawings are described as deliberately avoiding the influences of modernist graphic styles.
   • His paintings, particularly those from the 1950s, are noted for their abstract and colorful compositions, which were innovative in their time.

5. Artistic Process:

   • The article discusses Louis's process of eliminating drawing details in his paintings, focusing on creating a new kind of pictorial space.
   • It mentions the term "field" painting, where the surface of the canvas is treated as a continuous plane, which Louis successfully adapted.

6. Impact and Legacy:

   • The discovery of Louis's drawings has added to the complexity of understanding his artistic breakthrough and execution.
   • The article concludes that Louis's struggle to maintain hope for an artistic breakthrough through his paintings is a testament to his enduring influence and legacy.

The article is accompanied by an image of one of Louis's works, titled "D.399," dated 1953, which exemplifies his unique style and approach to abstract painting.

The image is a page from a publication, specifically an article titled "Art Drawing color out of line" by Kenneth Baker. The article discusses the artistic evolution of the artist Morris Louis.

Here is a detailed summary of the content:

1. Introduction and Early Work:

   • The article begins by mentioning Morris Louis's earlier work, which predicted some later modern art trends, specifically referencing Jules Olitski's paintings and the formalist ideas of Clement Greenberg.
   • Louis's early paintings were described as something like abstract versions of Surrealist psychic automatism.

2. Discovery and Transition:

   • Louis's significant breakthrough came with the discovery of new possibilities in art through the works of other artists, particularly Helen Frankenthaler.
   • This discovery led Louis to produce a series of paintings known as the "Veils," which were created by pouring paint and letting it soak into unprimed canvas.

3. Artistic Struggles and Innovations:

   • Louis faced the challenge of how to maintain the immediacy and spontaneity of his earlier works while managing complex compositions.
   • He experimented with eliminating drawing completely but later found a way to integrate drawing through the use of lines and color.

4. Process and Technique:

   • The article describes how Louis's approach to painting evolved over time. Initially, he tried to minimize the influence of drawing, focusing instead on the flow and stain of paint.
   • Later, he embraced a more graphic style, creating works that were more deliberate and structured.

5. Later Works and Legacy:

   • Louis's later works, such as the "Unfurleds" and "Stripes," involved a more direct engagement with drawing and line work.
   • The article highlights that these later paintings involved a conscious return to the elements of drawing, albeit in a more sophisticated and controlled manner.

6. Critique and Analysis:

   • The article posits that Louis's work from 1959 to 1963 (notably "Dip" and "Beta Lambda") shows a struggle to reconcile the spontaneity of painting with the precision of drawing.
   • Kenneth Baker reflects on how Louis managed to resolve these challenges, ultimately finding a balance that allowed him to create a unique and influential body of work.

The right side of the page features an image of one of Morris Louis's artworks from 1953, titled "Dip." This image visually supports the discussion about Louis's techniques and stylistic explorations during that period.

This image shows an open book or magazine article with the title "Art - Drawing color out of line" written by Kenneth Baker. The left page of the spread is mostly text, with a substantial column of text starting with the letter "T" and continuing down the page. There is a small, hand-written note at the top left corner, possibly a page cataloging or reference mark.

The right page has a two-column layout with a heading on the top, also containing mostly text. At the upper right corner, there are images of drawings or sketches in a grid-like arrangement, but the details are not clear. The images appear to be in a sequence or related series, suggesting examples of the art being discussed in the article. The paper has a slight yellowish tint that suggests it may be aged or the image color balance may be warm. The pages are set against a background that appears to be a beige surface, possibly a table or a desk.

The image is of a magazine spread from a March 1980 issue of Art in America. The left page features an article titled "Art Drawing Color Out of Line" by Kenneth Baker. The article discusses Morris Louis's late color-field paintings and how they were initially criticized but have since been redeemed. The right page features an image of several of Louis's drawings, labeled "Morris Louis, 'D399,' 1953." The article discusses Louis's struggle with drawing and how it influenced his painting style.

The image shows an open book with two pages visible. The left page is titled "Art Drawing color out of line" and is authored by Kenneth Baker. The page is numbered 12 and appears to be from a section labeled "BOSTON PHOENIX SECTION THREE MARCH 11 1980". The text discusses the artist Morris Louis, focusing on his approach to drawing and painting. It explores Louis's philosophy, his emphasis on drawing as a means of discovery, and his unique style, which challenged conventional notions of form and representation. The passage delves into Louis's work, particularly his drawings from the 1950s and 1960s, and highlights his influence on modernist art.

On the right page, there is an illustration of Morris Louis's artwork titled "D399," created in 1953. The artwork is a large, abstract composition featuring bold, gestural brushstrokes in vibrant colors. The piece appears to be a study or sketch, with visible brushwork and a dynamic, expressive style. The illustration is placed alongside the text, providing a visual complement to the discussion of Louis's artistic process and philosophy. The layout suggests an art book or critical essay that combines textual analysis with visual examples to explore the artist's contributions to modern art.

The image shows an open book with a two-page spread. On the left page, there is a text article titled "Art Drawing color out of line" by Kenneth Baker. The text is written in black ink and is in a single column. On the right page, there is an image of a drawing by Morris Louis. The drawing is in black and white and is divided into several sections. The book appears to be a magazine or journal, as the pages are numbered and there is a date at the top of the page.