It’s Day 62 and that means 62 paintings! This is the 2nd painting I’ve painted in my new art space. 🙂 I still need to unpack so much and work on the office. For now, let’s celebrate Helen Frankenthaler.
Helen Frankenthaler (December 12, 1928 – December 27, 2011) was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s.
She was included in the 1964 Post-Painterly Abstraction exhibition curated by
Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field. Born in Manhattan, she was influenced by Hans Hofmann, Jackson Pollock’s paintings and by Clement Greenberg. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at theMuseum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
Frankenthaler had a home and studio in Darien, Connecticut.
Helen Frankenthaler was a New Yorker. She was born in Manhattan on December 12, 1928. Her father was Alfred Frankenthaler, a respected New York State Supreme Court judge. Her mother, Martha (Lowenstein), had emigrated with her family from Germany to the United States shortly after she was born. Her two sisters, Marjorie and Gloria, were six and five years older, respectively. Growing up on Manhattan’s Upper East Side, Frankenthaler absorbed the privileged background of a cultured and progressive intellectual family that encouraged all three daughters to prepare themselves for professional careers. Her nephew is the artist/photographer Clifford Ross.
Frankenthaler studied at the Dalton School under Rufino Tamayo and also at
Bennington College in Vermont. She met Clement Greenberg in 1950 and had a five-year relationship with him. She was later married to fellow artist Robert Motherwell (1915–1991), from 1958 until they divorced in 1971. Both born of wealthy parents, the pair was known as “the golden couple” and noted for their lavish entertaining. She gained from him two stepdaughters, Jeannie Motherwell and Lise Motherwell. She married Stephen M. DuBrul, Jr., an investment banker who served the Ford administration, in 1994.
Frankenthaler had been on the faculty of Hunter College.
Initially associated with abstract expressionism her career was launched in 1952 with the exhibition of Mountains and Sea. This painting is large – measuring seven feet by ten feet – and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly onto an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine so that the color would soak into the canvas. This technique, known as “soak stain” was used by Jackson Pollock (1912–1956), and others; and was adopted by other artists notably Morris Louis (1912–1962), and Kenneth Noland (1924–2010), and launched the second generation of the Color Field school of painting. This method would sometimes leave the canvas with a halo effect around each area to which the paint was applied but has a disadvantage in that the oil in the paints will eventually cause the canvas to discolor and rot away.
Frankenthaler preferred to paint in privacy. If assistants were present she preferred them to be inconspicuous when not needed.
One of her most important influences was Clement Greenberg (1909–1994), an influential art and literary critic with whom she had a personal friendship and who included her in the Post-Painterly Abstraction exhibition that he curated in 1964. Through Greenberg she was introduced to the New York art scene. Under his guidance she spent the summer of 1950 studying with Hans Hofmann (1880–1966), catalyst of the Abstract Expressionist movement.
The first Jackson Pollock show Frankenthaler saw was at the Betty Parsons Gallery in 1950. She had this to say about seeing Pollock’s paintings Autumn Rhythm, Number 30, 1950 (1950),Number One,1950 (Lavender Mist) (1950):
“It was all there. I wanted to live in this land. I had to live there, and master the language.”
In 1960 the term Color Field painting was used to describe the work of Frankenthaler. This style was characterized by large areas of a more or less flat single color. The Color Field artists set themselves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application.
Some of her thoughts on painting:
“A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture
looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.” In Barbara Rose, Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85)
At her death in 2011 it became widely known through social media that Frankenthaler tried to stop the support of the National Endowment for the Arts to artists and was one of those responsible for the NEA dropping individual grants to artists. According to LA Times, “Frankenthaler did take a highly public stance during the late 1980s “culture wars” that eventually led to deep budget cuts for the National Endowment for the Arts and a ban on grants to individual artists that still persists. At the time, she was a presidential appointee to the National Council on the Arts, which advises the NEA’s chairman. In a 1989 commentary for the New York Times, she wrote that, while “censorship and government interference in the directions and standards of art are dangerous and not part of the democratic process,” controversial grants to Andres Serrano, Robert Mapplethorpe and others reflected a trend in which the NEA was supporting work “of increasingly dubious quality. Is the council, once a helping hand, now beginning to spawn an art monster? Do we lose art … in the guise of endorsing experimentation?”
Read the rest of her biography at wikipedia.
“A really good picture looks as if it’s happened at once. It’s an immediate image.”
I really enjoyed doing this piece today! It was really relaxing and I painted a majority of the time with my fingers with very diluted paint.
I hope you enjoy my piece today and I’ll see you tomorrow on Day 63! I need to get to unpacking the office…or take a nap. I’m exhausted. 🙂 Linda