Gamma Epsilon introduces the main elements of the Unfurled Paintings series: narrow, luminous tracks of colour run diagonally downwards from both sides of the canvas, leaving the centre of the picture free. Morris Louis managed to control the flow of paint in such a way that neighbouring tracks either flowed into each other, wet on wet, or one flowed over the dry bed of another, or the tracks did not touch each at all over the course of their journey, even when the distance between them was less than a centimetre. He began this series in the summer of 1960, bought nearly a thousand metres of canvas and more than 60 litres of the new Magna paint, and created nearly 120 Unfurleds in about eight months.
Morris Louis (1912–1962)
Gamma Epsilon, 1960/61
Currently exhibited: Yes (Gallery: Colour's Dimension)
Material: Acrylic paint on canvas
Size: 260.4 x 492.8 cm
Inv-Nr.: B_417
Image rights: VG Bild-Kunst, Bonn
Keywords:
Previous owner: André Emmerich Gallery, New York; Alistair McAlpine, London; Rutland Gallery, London; Lewis Kaplan Associates, London; Galerie Denise René/Hans Mayer, Düsseldorf; private collection, Luxembourg (City), Luxembourg
Acquisition: Reinhard Ernst Collection, Sotheby’s, New York, 2017
Solo exhibition:
1996
‘Morris Louis’, Westfälisches Landesmuseum, Münster; Musée de Grenoble, Grenoble, France
Gamma Epsilon introduces the main elements of Morris Louis’ Unfurled Paintings series: the centre of the wide canvas is unpainted, diagonal lines of paint run steeply down from the vertical edges of the canvas. The alternation of broad and tapering line is reminiscent of plants, rivulets or roots. Louis poured the paint over a length of three metres or more without resin or turpentine leaking out, maintaining the full saturation and intensity of the colours. He managed to control the flow in such a way that neighbouring tracks ran together, wet on wet, or one track laid across another dried track, or did not touch at all at any point in their journey, even when the distance between them was less than a centimetre. In the previous ten years, he had repeatedly tried to strike a balance between powerful composition, bright colour and gestural drawing. With the Unfurleds series, he finally succeeded in giving free rein to his passion for draughtsmanship and colourism.
Louis took advantage of his improved financial situation in 1960 by acquiring a larger stock of painting materials than he had previously been able to. This included almost a thousand metres of canvas and over 60 litres of the new Magna paint (see Loom, 1959), whose special material properties contributed not insignificantly to the impressive results of the series. Some of the works were more than six metres in width and so large that the artist could only see and process them in parts. After the process, he rolled up the works and stored them. He began this series in the summer of 1960 and created almost 120 Unfurleds in about eight months – a feat requiring amazing concentration and energy.
