A striking example of Morris Louis's Stripe series, featuring vertical bands of saturated colour applied to unprimed canvas.

Number 32 is a representative example of the Stripe series produced by Morris Louis during the final year of his life. This work demonstrates the artist's method of applying Magna, an acrylic resin paint, to unprimed canvas. By tilting the canvas, Louis allowed the pigment to flow in controlled, vertical bands. The result is a series of distinct, parallel stripes that maintain the raw texture of the fabric beneath. Unlike the earlier Veil paintings, which relied on overlapping washes of colour to create atmospheric depth, the Stripe series focuses on the physical properties of the paint and the interaction between individual hues. The vertical orientation of the composition directs the viewer's eye along the length of the canvas, emphasising the gravity-driven nature of the application process. The white, unpainted areas of the canvas function as a structural element, providing a stark contrast to the saturated colours of the stripes. Louis was a central figure in the Washington Color School. His approach to painting prioritised the flatness of the picture plane, a concept that became a primary concern for many artists working in the mid-twentieth century. By removing the evidence of the brushstroke, Louis sought to allow the colour to exist as an independent entity on the surface. This work reflects his interest in the optical effects of pure pigment and the reduction of painting to its essential components of colour and support. The precise placement of the stripes creates a sense of rhythm and order, distinguishing this work from the more gestural styles of his contemporaries in the New York School.