In the 1950s Morris Louis and a group of other artists that included the notable Keneth Noland, Gene Davis, Tom Downing, among others were crucial when it came to the development of color field painting. They greatly simplified the idea of what was considered to be the look of a so-called “finished painting.” Louis painted using the same “style” and process of artists such as Jackson Pollock, Robert Motherwell, Mark Rothko, Clyfford Still, Barnett Newman, and Ad Reinhart. He, as well as these other artists, chose to eliminate gestural, compositional drawing in favor of large areas of raw canvas. They all used this raw canvas and poured solid planes of thinned and fluid paint onto the canvas, utilizing an expressive use of flat, and intense color, and repetitive composition. Taking a close look at his works reveals Louis process. He poured many colored washes across the 6-by-8-foot canvas, predominantly in a vertical direction. Some of the earliest pours run horizontally across the field, however, and their contours remain visible as delicate arcs that cross the field. In 1954, Louis produced a series of paintings, which he called Veil Paintings. Overlapping, superimposed layers of transparent color that was poured onto and stained into raw canvas characterized this series of paintings. The thinned acrylic paint was allowed to stain the canvas, making the pigment at one with the canvas as opposed to “on top”. Morris Louis is relevant because of his contribution and influence on the art community. Louis’ greatest contribution to the art world was with the development of color field painting and what it stood for/relied on. This being, an attempt to move away from the brushstroke and what was considered masterful and to move towards a type of art that was about the process in which it was created and the form itself. This idea than influenced a number of later artistic movements that moved away from seeing “the artists hand.”