In her 1984 monograph on Frankenthaler's works on paper, Karen Wilkin wrote: Her best pictures keep a lively balance between spontaneity and wilfulness, between intuition and inspired calculation. I had to live there, and master the language. Tanglewood Press then released all but Gottlieb's print in an edition of 50. 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. Subsequently, she also sought to replicate the method's effects in printmaking, creating woodcuts that not only resembled paintings, but also achieved the misty, watercolor-like quality of her color washes.
Her calligraphic lines often seem to have a life of their own - they flow from the artist's hand and are full of references and nuances to spiritual life and emotional experience. In 1994, she married Stephen M. For the next three decades, Helen created pieces of art from the fields of painting, silkscreen prints and woodcuts, defining the current directions these mediums were following with every artwork. In 1995, the pair collaborated again, creating The Tales of Genji, a series of six woodcut prints. I wanted to live in this land. Interestingly, the practitioners of the Color Field saw themselves apart from the Abstract Expressionists because they stayed clear of emotional, mythic or the religious content, allowing the personal and gestural painterly application to take precedent.
Whether her work is of personal interest or not, her achievements — which are neatly summarized in her — are indisputable. Ultimately, her parents accepted that fact and she was sent to study at the Dalton School before she began attending classes at the Bennington College in Vermont. Provenance: Gift of the artist. Ms Frankenthaler was not physically able to sign the edition after it was completed. Much like Mountains and Sea, Frankenthaler's Basque Landscape 1958 seems to refer to a very specific, external environment, thus it is also abstract.
But in addition to that, it transcends another traditional dualism: that between drawing and color. Initially associated with because of her focus on forms latent in nature, Frankenthaler is identified with the use of fluid shapes, abstract masses, and lyrical gestures. The condition was rated A: Mint. Frankenthaler continued to innovate in the woodcut as a mature artist, breaking ground in , 1992-3, and , a suite of six prints that would have been a crowning achievement had she not surpassed it a few years later with Madame Butterfly, 2000, arguably her greatest achievement in printmaking. Frankenthaler applied her breakthrough soak-stain technique to other painterly media, most notably, watered-down acrylic, which she used in place of turpentine-thinned paint starting in the 1960s. Compared to her own large exhibitions to date, and to other major retrospectives on at present, such as James Rosenquist at the Solomon R.
Throughout the 1950s, her works tended to be centered compositions, meaning the majority of the pictorial incident took place in the middle of the canvas itself, while the edges were of little consequence to the compositional whole. Any reference to condition in the condition report for the lot does not amount to a full description of condition. Around the year of 1957, Helen started to experiment and take her work down a new path when she began introducing linear shapes and more organic, rounded forms. The first Jackson Pollock show Frankenthaler saw was at the in 1950. The two were a couple to the year if 1971 when their divorce became official.
Her work in the 1980s was characterized as much calmer, with its use of muted colors and relaxed brushwork. The way to achieve this colour identification was by adopting watercolour technique to oil and using thin paint on an absorbent surface' so that pigment and canvas became unified 'like dyed cloth'. I am obsessed and the energy flows, the adrenalin flows, the ideas flow. Quoted in an article by James Truitt,, Washington Post, 21 December 1961, Ibid, p. The condition was rated A: Mint. Traditionally, works on paper were more personal or diaristic, or they were studies for major works. Later in her career, Frankenthaler turned her attention to other artistic media, most notably woodcuts, in which she achieved the quality of painting, in some cases replicating the effects of her soak-stain process.
Each print has been initialed individually and hand applied and pencil numbered under her strict supervision. Color screenprint on core-filled, baked aluminum panel, 1968. Helen Frankenthaler interview with Eleanor Munro, 1979 quoted by Robert S. 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. It is a remarkably complex, hand made image utilizing more than 90 screens to achieve subtle changes in color intensity. National Endowment for the Arts. Mattison, Helen Frankenthaler: Paper is Painting,Bernard Jacobson Gallery, London, 2010: 9.
Frankenthaler preferred to paint in privacy. In subsequent years Frankenthaler used , which she switched to in 1962. He just opened it up to me. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. She was a daughter of Alfred Frankenthaler, a respected Supreme Court judge held in high regard both in and outside of the Big Apple borders. Printed by Bob Cross and Rodney Konopaki, Mount Kisco.
She gained from him two stepdaughters, Jeannie Motherwell and Lise Motherwell. All transactions are governed by Freeman's Conditions of Sale. I was terrified … It was thrilling. Her parents recognized and fostered her artistic talent from a young age, sending her to progressive, experimental schools. It was a pivotal time in the development of American Abstract Expressionism. It was here that Frankenthaler learned everything about pictorial composition and started to demonstrate a cubist-derived style which marked her early career.