What Do You See? The Collection of Sidney Rothberg, Part I

Morris Louis was an American painter associated with the Color Field movement, which emerged in the 1950s and 1960s. Louis is perhaps best known for his Veil and Stripe series, which are characterized by their use of thinned acrylic paint that was poured or stained onto unprimed canvases. These techniques allowed the paint to soak into the fabric, producing luminous, translucent layers of color.One of Louis’s earlier works, Charred Journal (Firewritten Series) from 1951, predates his signature pouring technique but already showcases his interest in experimenting with materials and processes, mark-making and abstraction. For John Elderfield, former Chief Curator of Painting and Sculpture at MoMA, the series reveals “a highly astute, knowledgable artist preoccupied with the problem of fixing emphatically charged imagery onto a demonstrably flat, wafer-thin surface.”In Charred Journal (Firewritten Series), Louis used a blowtorch to burn and char the surface of the canvas, creating a series of intricate, linear patterns reminiscent of calligraphy or ancient scripts. The title suggests a connection to writing or documentation, but the resulting artwork transcends literal interpretation, inviting viewers to engage with its tactile and visual qualities.Like much of Louis's œuvre, Charred Journal reflects his interest in pushing the boundaries of painting and challenging conventional notions of artistic expression. By employing unconventional techniques and materials, Louis sought to capture the essence of color and form in its purest, most elemental state. This unique approach adds an element of surprise and intrigue for those, such as Rothberg, who were interested in exploring the innovative artistic techniques being employed at this time. Overall, Louis's Charred Journal (Firewritten Series) serves as a testament to the artist's innovative spirit and his enduring impact on the evolution of abstract painting in the 20th century.