THE EXHIBIT OF THE WASHINGTON COLOR SCHOOL
ANNOTATED BIBLIOGRAPHY
http://morrislouis.org/morrislouis/page/emergence_of_morris_louis
Upright, Diane. “Morris Louis: The Complete Paintings.” New York: Harry N. Abrams, Inc. (1985): 9-34. Maryland Institute College of Art. Web. 2014
This source includes a biography of Morris Louis. His personal life, written records from Morris Louis to his brother and in-depth descriptions of his career as an artist are all included.
Duncan, Michael. "Thomas Downing at Conner Contemporary and Howard Mehring at the Catholic University." Art in America 91.5 (2003): 153.
A brief and somewhat in depth description of Howard Mehring’s work. There is a chronological order to the changes in his style of painting and examples within. Some of the examples come from his field painting techniques as well as his abstract lettering that grew out of these.
Wilkin, Karen. “At the Galleries”. The Hudson Review Vol. 62, No. 2 (SUMMER 2009), pp. 289-295.
An overview of different artists in their respective galleries. There is one section that mentions one of the main views or goals of the Washington Color School. It also lists the varying artists that were associated with this group. It goes into the specific theme that influenced a later artist who developed based upon this theme.
Fowler, Sandra. “On the Cover”. American Psychologist 2008, pp. 831
Geared more towards an influenced artist there are themes that they were influenced by, the Washington School of Color. There is a section that mentions the Washington Color School and its specific influence on one artist. It mentions one idea that was consistent with the Washington Color School, which is implied and directed to all of its related artists.
http://americanart.si.edu/collections/search/artist/?id=3263
Fried, Michael. "Hover by Kenneth Noland." Acquistions (Fogg Art Museum) (1964): 60-63. The President and Fellows of Harvard College on Behalf of Harvard Art Museum. Web. 10 Oct. 2015. http://www.jstor.org/stable/4300755 (Links to an external site.)
This is a scholarly article written by Michael Fried analyzing briefly the piece, “Hover” by Kenneth Noland. He go into detail on Noland’s artist background and his influences from the Washington Color school, and tries to make clear the meaning of a piece that does not have one definitively. His conversation on Noland’s use of color and his ideas on the application of paint onto canvas as well as the relationships that colors can or may have with one another is interesting.
"Thomas Downing | D. Wigmore Fine Art." Thomas Downing | D. Wigmore Fine Art. Web. 11 Oct. 2015. <http://www.dwigmore.com/downing_bio.html>.
This source is very brief and to the point which makes the understanding of Downing’s pieces a little bit easier to handle. It gives many artist biographies including Downing’s that help to understand the thoughts and processes behind the Washington Color Movement.
https://users.wfu.edu/~laugh/painting2/noland.pdf (Links to an external site.)
Waldman, Diane. ”Color, Format and Abstract Art: An Interview with Kenneth Noland by Diane Waldman.” North Carolina: Wake Forest University (May-June 1977): 99-105. Art in America 65, no. 3.
This source has an excerpt from an interview between history scholar, Diane Waldman and artist, Kenneth Noland. Through the interview, Kenneth Noland reveals details about his technique and style.
Twentieth Century Art Author(s): Lowery S. Sims, Ida Balboul, Cynthia Goodman, Susan Leve and Penelope Hunter-Stiebel Source: Notable Acquisitions (Metropolitan Museum of Art), No. 1975/1979 (1975 - 1979), pp. 72- 77 Published by: Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/1513633 Accessed: 09-10-2015 21:23 UTC
Hover by Kenneth Noland Author(s): Michael Fried Source: Acquisitions (Fogg Art Museum), No. 1964 (1964), pp. 60-63 Published by: President and Fellows of Harvard College on behalf of Harvard Art Museum Stable URL: http://www.jstor.org/stable/4300755 Accessed: 09-10-2015 21:27 UTC
Planes, Structure, Color, and Content
Author(s): Edward B. Henning Source: The Bulletin of the Cleveland Museum of Art, Vol. 61, No. 7 (Sep., 1974), pp. 223-239 Published by: Cleveland Museum of Art Stable URL: http://www.jstor.org/stable/25152534 Accessed: 09-10-2015 20:16 UTC