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American painter

"Frankenthaler" redirects here. For the French wine grape that is also known as Frankenthaler, see Gouais blanc.

For the German/Italian wine grape that is likewise known as Frankenthaler, come across Trollinger.

Helen Frankenthaler
Helen Frankenthaler-1956.jpg

Frankenthaler in 1956
Born (1928-12-12)December 12, 1928

New York City, US
Died December 27, 2011(2011-12-27) (aged 83)

Darien, Connecticut, U.s.a.
Nationality American
Education Dalton School
Bennington Higher
Known for Abstract painting

Notable work

 Mountains and Sea
Motion Abstruse expressionism, color field painting, lyrical brainchild

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 abstruse painters while continuing to produce vital and ever-changing new work.[1] Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early on 1950s. She was included in the 1964 Post-Painterly Brainchild exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to exist known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock'southward paintings. Her piece of work has been the field of study of several retrospective exhibitions, including a 1989 retrospective at the Museum 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.[two]

Early life and instruction [edit]

Helen Frankenthaler was born on December 12, 1928 in New York Urban center.[iii] Her father was Alfred Frankenthaler, a New York Country Supreme Courtroom judge.[three] Her mother, Martha (Lowenstein), had emigrated with her family from Germany to the U.s.a. shortly after she was built-in.[iv] Her two sisters, Marjorie and Gloria, were six and 5 years older, respectively. Growing upwardly on Manhattan'south Upper Due east Side, Frankenthaler absorbed the privileged background of a cultured and progressive Jewish intellectual family that encouraged all iii daughters to gear up themselves for professional person careers. Her nephew is the artist/photographer Clifford Ross.[five]

Frankenthaler studied at the Dalton Schoolhouse under muralist Rufino Tamayo and also at Bennington Higher in Vermont.[3] While at Bennington College, Frankenthaler studied under the management of Paul Feeley, who is credited with helping her understand pictorial composition, too as influencing her early cubist-derived manner.[6] Upon her graduation in 1949, she studied privately with Australian-born painter Wallace Harrison,[seven] and with Hans Hofmann in 1950.[eight] [9] She met Cloudless Greenberg in 1950 and had a five-twelvemonth relationship with him.[four] She afterward married Robert Motherwell, another painter, in 1958; the couple divorced in 1971.[10] Both born of wealthy parents, they were known equally "the golden couple" and for their lavish entertaining.[4] She gained ii stepdaughters from him, Jeannie Motherwell and Lise Motherwell.[4] Jeannie Motherwell studied painting at Bard College and the Fine art Students League in New York. Continuing with her fine art afterwards college, she became active in arts education at the Bruce Museum in Greenwich, CT, until relocating to Cambridge, MA, where she worked at Boston University for the graduate program in Arts Assistants until 2015. She served on the Cambridge Arts Council Public Art Committee from 2004 - 2007 and is a fellow member of the Advisory Board of Provincetown Arts mag (since 2019). Jeannie Motherwell had a prove at Rafius Fane Gallery, Boston, Mass. titled Pour, Push, Layer.[11] She is currently represented past M Fine Arts Galerie in Boston, MA and The School Gallery in Provincetown, MA.

In 1994, Frankenthaler married Stephen Thousand. DuBrul, Jr., an investment banker who served the Gerald Ford administration.[4] Frankenthaler had been on the kinesthesia of Hunter College.

Style and technique [edit]

Agile equally a painter for nigh 6 decades, Frankenthaler passed through many phases and stylistic shifts.[12] Initially associated with abstract expressionism[13] because of her focus on forms latent in nature, Frankenthaler is identified with the utilize of fluid shapes, abstract masses, and lyrical gestures.[8] [14] She fabricated use of big formats on which she painted, generally, simplified abstruse compositions.[15] Her style is notable in its emphasis on spontaneity, as Frankenthaler herself stated, "A actually expert movie looks as if information technology's happened at once."[6]

Frankenthaler'southward official artistic career was launched in 1952 with the exhibition of Mountains and Sea.[16] Throughout the 1950s, her works tended to exist centered compositions, pregnant the majority of the pictorial incident took identify in the center of the canvas itself, while the edges were of little event to the compositional whole.[12] In 1957, Frankenthaler began to experiment with linear shapes and more organic, sun-like, rounded forms in her works.[8] In the 1960s, her style shifted towards the exploration of symmetrical paintings, as she began to identify strips of colors near the edges of her paintings, thus involving the edges equally a part of the compositional whole. With this shift in composition came a full general simplification of Frankenthaler's style.[12] She began to brand use of single stains and blots of solid color against white backgrounds, often in the course of geometric shapes.[8] Beginning in 1963, Frankenthaler began to use acrylic paints rather than oil paints considering they allowed for both opacity and sharpness when put on the sheet.[9] By the 1970s, she had done abroad with the soak stain technique entirely, preferring thicker paint that allowed her to utilize bright colors almost reminiscent of Fauvism. Throughout the 1970s, Frankenthaler explored the joining of areas of the sail through the use of modulated hues, and experimented with large, abstract forms.[12] Her work in the 1980s was characterized equally much calmer, with its employ of muted colors and relaxed brushwork.[8] "One time 1'due south true talent begins to emerge, one is freer in a manner but less complimentary in another mode, since i is a captive of this necessity and deep urge".[17]

Color field painting [edit]

In 1960, the term color field painting was used to describe the piece of work of Frankenthaler.[18] In general, this term refers to the awarding of big areas, or fields, of colour to the canvas. This style was characterized by the use of hues that were similar in tone or intensity, as well equally large formats and simplified compositions, all of which are qualities descriptive of Frankenthaler's work from the 1960s onward.[fifteen] The color field artists differed from abstract expressionists in their attempted erasure of emotional, mythic, and religious content.[nineteen]

Technique [edit]

Frankenthaler often painted onto unprimed canvas with oil paints that she heavily diluted with turpentine, a technique that she named "soak stain." This allowed for the colors to soak direct into the canvas, creating a liquefied, translucent issue that strongly resembled watercolor. Soak stain was besides said to be the ultimate fusing of image and sail, drawing attention to the flatness of the painting itself.[6] The major disadvantage of this method, however, is that the oil in the paints will somewhen cause the canvass to discolor and rot away.[xx] [21] The technique was adopted by other artists, notably Morris Louis (1912–1962) and Kenneth Noland (1924–2010), and launched the second generation of the color field schoolhouse of painting.[22] Frankenthaler often worked by laying her sheet out on the floor, a technique inspired by Jackson Pollock.[6]

Frankenthaler preferred to paint in privacy. If assistants were nowadays, she preferred them to be camouflaged when not needed.[23]

Influences [edit]

Ane of her most important influences was Clement Greenberg (1909–1994), an fine 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.[10] [24] 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 showtime Jackson Pollock evidence Frankenthaler saw was at the Betty Parsons Gallery in 1950. She had this to say most seeing Pollock's paintings Autumn Rhythm, Number xxx, 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.

Some of her thoughts on painting:

A really good picture looks every bit if it'southward happened at once. It's an immediate epitome. For my ain work, when a picture looks labored and overworked, and you tin can read in it—well, she did this and and so she did that, and then she did that—there is something in it that has non got to do with beautiful fine art to me. And I unremarkably 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 caput and heart, and yous have it, and therefore information technology looks as if it were born in a minute.

John Elderfield wrote that the watercolors of Paul Cézanne and John Marin were important early on influences:

Watercolor... expands the brightness and flatness of plein-air painting because it visibly reveals these qualities in the whiteness of its back up, which always makes its presence felt due to the insubstantiality of its covering. Marin and Cézanne were important to Frankenthaler not but for their watercolors or for the lightness of their piece of work, but, more importantly, because both of them had liberated their oil paintings past treating them like watercolors, which was what Frankenthaler began to do... In Cézanne's case this transposition of techniques likewise encouraged him to go out uncovered areas of white canvas between patches of thinned-down oil. This was especially interesting to Frankenthaler too.[25]

Major works [edit]

Paintings [edit]

In Mountains and Ocean, her first professionally exhibited work, Frankenthaler made use of the soak stain technique. The work itself was painted after a trip to Nova Scotia, which partly questions the extant of its non-representational status. Although Mountains and Sea is not a straight delineation of the Nova Scotia coastline, elements of the work suggest a kind of seascape or landscape, like the strokes of blue that join with areas of green. Much like Mountains and Sea, Frankenthaler's Basque Landscape (1958) seems to refer to a very specific, external environment, but it is also abstruse.[12] The same can be said for Lorelei (1956), a work based on a gunkhole ride Frankenthaler took down the Rhine.[26]

In Swan Lake #2 (1961), Frankenthaler begins to explore a more illustrative handling of paint. The work depicts a big area of blue paint on the canvas, with breaks in the colour that are left white. These negative spaces resemble birds, perhaps swans, sitting on a body of water. There is a very rectilinear brown square that encompasses the bluish, balancing both the absurd tones of the blueish with the warmth of the brown, and the gestural handling of the paint with the stiff linearity of the square.[12]

Eden, from 1956, is an interior landscape, meaning it depicts the images of the artist'south imagination. Eden tells the story of an abstract, interior earth, idealized in means that a mural never could be. The work is almost entirely gestural, save for the incorporation of the number "100" 2 times in the heart of the image. When asked virtually the process of creating this work, Frankenthaler stated that she began by painting the numbers, and that a sort of symbolic, arcadian garden grew out of that.[26]

Prints and woodcuts [edit]

Frankenthaler recognized a need to continually claiming herself to develop every bit an artist. For this reason, in 1961, she began to experiment with printmaking at the Universal Express Fine art Editions (ULAE), a lithographic workshop in Westward Islip, Long Island. Frankenthaler collaborated with Tatyana Grosman in 1961 to create her kickoff prints.[6]

In 1976, Frankenthaler began to work inside the medium of woodcuts. She collaborated with Kenneth E. Tyler. The first piece they created together was Essence of Mulberry (1977), a woodcut that used eight unlike colors. Essence of Mulberry was inspired past ii sources: the get-go was an exhibition of fifteenth century woodcuts that Frankenthaler saw on brandish at the Metropolitan Museum of Art, the second being a mulberry tree that grew outside of Tyler'southward studio. In 1995, the pair collaborated again, creating The Tales of Genji, a series of vi woodcut prints. To create woodcuts with a resonance similar to Frankenthaler's painterly mode, she painted her plans onto the forest itself, making maquettes. The Tales of Genji took nearly three years to complete. Frankenthaler and so went on to create Madame Butterfly, a print that employed one hundred and two different colors and twoscore-six woodblocks. Madame Butterfly is seen every bit the ultimate translation of Frankenthaler's style into the medium of woodcuts, every bit information technology embodies her thought of creating an prototype that looks equally if information technology happened all at one time.[6]

Awards and legacy [edit]

Frankenthaler received the National Medal of Arts in 2001.[27] She served on the National Council on the Arts of the National Endowment for the Arts from 1985 to 1992.[28] Her other awards include First Prize for Painting at the first Paris Biennial (1959); Temple Gold Medal, Pennsylvania University of Fine Arts, Philadelphia (1968); New York City Mayor's Award of Laurels for Arts and Civilization (1986); and Distinguished Artist Award for Lifetime Achievement, Higher Fine art Association (1994).[29] In 1990, she was elected into the National Academy of Pattern as an Associate member, and became a full Academician in 1994.

Frankenthaler did not consider herself a feminist: "For me, being a 'lady painter' was never an effect. I don't resent being a female person painter. I don't exploit it. I paint."[30] "Art was an extremely macho concern," Anne Temkin, chief curator at the Museum of Modernistic Fine art, told NPR. "For me, at that place'southward a great deal of admiration just in the courage and the vision that she brought to what she did."[31] However, Mary Beth Edelson'due south feminist slice Some Living American Women Artists / Terminal Supper (1972) appropriated Leonardo da Vinci's The Final Supper, with the heads of notable women artists including Frankenthaler collaged over the heads of Christ and his apostles. This image, addressing the role of religious and art historical iconography in the subordination of women, became "one of the nearly iconic images of the feminist art movement."[32] [33]

In 1953, Kenneth Noland and Morris Louis saw her Mountains and Sea which, Louis said later, was a "bridge betwixt Pollock and what was possible."[34] On the other hand, some critics called her work "just beautiful."[31] Grace Glueck's obituary in The New York Times summed up Frankenthaler's career:

Critics take not unanimously praised Ms. Frankenthaler's art. Some have seen it as thin in substance, uncontrolled in method, too sweet in colour and too "poetic." Just it has been far more apt to garner admirers like the critic Barbara Rose, who wrote in 1972 of Ms. Frankenthaler'southward gift for "the liberty, spontaneity, openness and complexity of an image, non exclusively of the studio or the heed, but explicitly and intimately tied to nature and human being emotions.[4]

Helen Frankenthaler Foundation [edit]

The New York-based Helen Frankenthaler Foundation, established and endowed past the artist during her lifetime, is defended to promoting greater public interest in and understanding of the visual arts.[35] [36] In 2021 the foundation created Frankenthaler Climate Initiative.[37] In July 2021, the foundation award the first round of grants totaling $five.1 million dollars. The recipients included the Museo de Arte de Ponce, the Santa Rosa Indian Museum and Cultural Center, the Studio Museum in Harlem, and the Yale Academy Arts Center.[38]

Exhibitions [edit]

Frankenthaler's first solo exhibition took place at the Tibor de Nagy Gallery, New York, in the autumn of 1951. Her first major museum show, a retrospective of her 1950s work with a itemize by the critic and poet Frank O'Hara, a curator at the Museum of Modern Art, was at the Jewish Museum in 1960. Subsequent solo exhibitions include "Helen Frankenthaler," Whitney Museum of American Art, New York (1969; traveled to Whitechapel Gallery, London; Orangerie Herrenhausen, Hanover; and Kongresshalle, Berlin), and "Helen Frankenthaler: a Painting Retrospective," The Modern Art Museum of Fort Worth (1989–xc; traveled to the Museum of Modern Art, New York; Los Angeles County Museum of Art; and Detroit Institute of Arts).[39] Miles McEnery Gallery, a New York-based contemporary art gallery which exhibited Color-Field and Abstract Expressionist paintings, showcased a range of her work in 2009 ["Helen Frankenthaler," December 10, 2019 – January 23, 2010).[twoscore] [41] In October 6, 2019, Frankenthaler was included in Sparkling Amazons: Abstract Expressionist Women of the 9th St. Show at the Katonah Museum of Art in Westchester Canton, NY.[42] which ran until January 26, 2020; *2019: "Postwar Women:alumnae of the Art Students League of New York 1945-1965", Phyllis Harriman Gallery, Art Students League of NY; curated by Volition Corwin.;[43] 2020: "9th Street Society", Gazelli Art Firm, London; curated by Will Corwin[44]

In 2021, a decade after her death the New Great britain Museum of American Art mounted an exhibition of her works on paper from the terminal stages of her opus titled "Helen Frankenthaler; Belatedly Works 1990 - 2003". The exhibition is on from February eleven until May 23, 2021.[45]

Collections [edit]

  • Art Gallery of Ontario, Toronto
  • Art Establish of Chicago
  • Heart Pompidou, Paris
  • The Governor Nelson A. Rockefeller Empire Country Plaza Art Collection
  • Kalamazoo Found of Arts, Kalamazoo, MI
  • Los Angeles County Museum of Art
  • Metropolitan Museum of Fine art, New York
  • Museum of Fine Arts, Boston
  • Museum of Mod Fine art, New York
  • National Gallery of Art, Washington, D.C.
  • National Gallery of Commonwealth of australia
  • San Francisco Museum of Modernistic Fine art
  • Solomon R. Guggenheim Museum, New York
  • Utah Museum of Fine Arts, Salt Lake City, UT
  • University of Michigan Museum of Fine art, Ann Arbor, MI
  • Walker Art Center, Minneapolis
  • Whitney Museum of American Fine art, New York

National Endowment for the Arts [edit]

She was a presidential appointee to the National Council on the Arts, which advises the NEA'south chairman. In The New York Times in 1989, she argued government funding for the arts was "not part of the democratic process" and was "showtime to spawn an art monster".[46] According to the Los Angeles Times, "Frankenthaler did have 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 yet persists. 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 unsafe and non part of the democratic process," controversial grants to Andres Serrano, Robert Mapplethorpe, and others reflected a tendency in which the NEA was supporting work "of increasingly dubious quality. Is the council, one time a helping hand, now beginning to spawn an art monster? Practise we lose art ... in the guise of endorsing experimentation?"[47] [48]

Decease [edit]

Frankenthaler died on December 27, 2011 at the age of 83 in Darien, Connecticut, following a long and undisclosed affliction.[49]

Run across also [edit]

  • Lyrical abstraction
  • Wash (visual arts)
  • Sunset Corner

Notes [edit]

  1. ^ National Gallery of Art Retrieved August 17, 2010
  2. ^ Web page titled "Helen Frankenthaler" Archived 2010-02-17 at the Wayback Machine, at the "Connecticut Women'due south Hall of Fame" website, retrieved January 30, 2010
  3. ^ a b c "Helen Frankenthaler", Britannica, Retrieved 24 December 2014.
  4. ^ a b c d e f Glueck, Grace (December 27, 2011). "Helen Frankenthaler, Abstract Painter Who Shaped a Movement, Dies at 83". The New York Times . Retrieved Dec 27, 2011.
  5. ^ Grace Glueck, NY Times, 1998 Retrieved Baronial 17, 2010
  6. ^ a b c d e f Babington, Jacklyn (2005). "Against the grain: the woodcuts of Helen Frankenthaler". Artonview. 44: 22–27.
  7. ^ Wilkin, Karen. "Frankenthaler at the Guggenheim". The New Criterion . Retrieved October 23, 2015.
  8. ^ a b c d e Brookeman, Christopher. "Frankenthaler, Helen". Oxford Fine art Online. Oxford University Press.
  9. ^ a b Tolley-Stokes, Rebecca. Frankenthaler, Helen, 1928-2011. Ideology Reference. Encyclopedia of the Sixties: A Decade of Civilisation and Counterculture.
  10. ^ a b Belz, Carl. "Helen Frankenthaler". Jewish Women'south Archive . Retrieved Dec 27, 2011.
  11. ^ McQuaid, Cate (Oct xi, 2017). "Jeannie Motherwell'south paintings revel in abstraction". The Boston Globe . Retrieved July 10, 2019.
  12. ^ a b c d eastward f Carmean, Jr., E.A. (1978). "On Five Paintings by Helen Frankenthaler". Art International. 22: 28–32.
  13. ^ Tate bio Retrieved Baronial 17, 2010
  14. ^ Chadwick, Whitney (2007). Women, Art, and Society (Fourth ed.). New York: Thames & Hudson. p. 328. ISBN978-0-500--20393-4.
  15. ^ a b Anfam, David. "Colour field painting". Oxford Art Online. Oxford Academy Press.
  16. ^ Britannica Retrieved August 17, 2010
  17. ^ Dorofeyeva, L. V. (November 1975). "Obtaining of measles virus haemagglutinin from strain L-sixteen grown in chief prison cell cultures". Acta Virologica. 19 (6): 497. ISSN 0001-723X. PMID 1998.
  18. ^ 'Colour Field' Artists Plant a Different Way Retrieved 3 Baronial 2010
  19. ^ "Colour Field Painting". Tate. Retrieved Baronial 17, 2010
  20. ^ Carmean, East.A. Helen Frankenthaler A Paintings Retrospective, Exhibition Itemize, p.12, Harry N. Abrams in conjunction with The Museum of Modern Fine art, Fort Worth, ISBN 0-8109-1179-5
  21. ^ John Elderfield, Afterwards a Breakthrough on the 1950s paintings of Helen Frankenthaler Retrieved Baronial 17, 2010
  22. ^ Fenton, Terry. "Morris Louis". sharecom.ca. Retrieved Dec 8, 2008
  23. ^ Loos, Ted (Apr 27, 2003). "Helen Frankenthaler, Back to the Future". The New York Times . Retrieved December 5, 2013.
  24. ^ list of artists in the exhibition Retrieved August 17, 2010
  25. ^ Alison Rowley (2007). Helen Frankenthaler: Painting History, Writing Painting. I.B.Tauris. p. 32. ISBN978-1-84511-518-0.
  26. ^ a b Elderfield, John (1989). "Afterward a "Breakthrough": On the 1950s Paintings of Helen Frankenthaler". MoMA. 2 (1): eight–11. JSTOR 4381078.
  27. ^ "Lifetime Honors: National Medal of Arts". National Endowment for the Arts. Archived from the original on July 21, 2011. Retrieved Dec 27, 2011.
  28. ^ Kennedy, Mark for The Associated Printing (December 27, 2011). "Abstruse Painter Helen Frankenthaler Dies At 83". Salon.com . Retrieved December 27, 2011.
  29. ^ "Collection Online Helen Frankenthaler - Guggenheim Museum". Guggenheim Museum. The Solomon R. Guggenheim Foundation (SRGF). Archived from the original on three March 2016. Retrieved 3 Feb 2016.
  30. ^ Grace Glueck says in the NYT this quote comes from: Gruen, John (1972). The Party's Over Now: Reminiscences of the fifties—New York's artists, writers, musicians, and their friends . Viking Printing. ISBN0-916366-54-5.
  31. ^ a b Rose, Joel (December 27, 2011). "Abstruse Artist Helen Frankenthaler Dies At Age 83". National Public Radio (NPR) . Retrieved December 27, 2011.
  32. ^ "Mary Beth Edelson". The Frost Art Museum Drawing Project . Retrieved 11 January 2014.
  33. ^ "Mary Beth Adelson". Clara - Database of Women Artists. Washington, D.C.: National Museum of Women in the Arts. Archived from the original on 10 Jan 2014. Retrieved x January 2014.
  34. ^ Gibson, Eric (December 27, 2011). "Pushing By Abstraction". The Wall Street Journal. Dow Jones. Retrieved December 27, 2011.
  35. ^ exhibit-east.com. "Mission - Foundation - Helen Frankenthaler Foundation". www.frankenthalerfoundation.org . Retrieved 2018-03-22 .
  36. ^ "Elizabeth A. T. Smith Named Director of Helen Frankenthaler Foundation". Observer. New York City. nine July 2013.
  37. ^ "Grants For Clean, Efficient Energy in Visual Arts Museums". Frankenthaler Climate Initiative . Retrieved 2 August 2021.
  38. ^ "Helen Frankenthaler Foundation Awards $5.1 Million in Climate Grants to Art Institutions". Artforum . Retrieved 2 August 2021.
  39. ^ "Painted on 21st Street - March viii - April 13, 2013 - Gagosian Gallery". Gagosian Gallery. Retrieved 3 February 2016.
  40. ^ "Miles McEnery Gallery". Ocula. 18 May 2021.
  41. ^ "Helen Frankenthaler". Miles McEnery Gallery.
  42. ^ http://artdaily.com/news/117349/Abstruse-Expressionist-Women-of-the-9th-St--bear witness-comes-to-the-Katonah-Museum-of-Art#.XZ9ZKCVlAc0
  43. ^ NY Times,New York Galleries: What to Encounter Correct Now
  44. ^ Dazed Digital
  45. ^ "Helen Frankenthaler: Belatedly Works, 1990–2003".
  46. ^ "Helen Frankenthaler: Innovative painter who took abstract fine art in a new direction". The Independent. Jan 12, 2012. Retrieved October 22, 2018.
  47. ^ Boehm, Mike (December 28, 2011). "Painter took art in new directions". Los Angeles Times . Retrieved December 5, 2013.
  48. ^ Frankenthaler, Helen (17 July 1989). "Did We Spawn an Arts Monster?". The New York Times.
  49. ^ "Helen Frankenthaler, Abstract Painter Who Shaped a Motility, Dies at 83" by GRACE GLUECK, The New York Times, December. 27, 2011 [i]

Further reading [edit]

  • Alexander Nemerov. 2021. Fierce Poise: Helen Frankenthaler and 1950s New York. Penguin.
  • Elderfield, John. Helen Frankenthaler, 1989, Harry N. Abrams ISBN 0-8109-0916-two
  • Gabriel, Mary. Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: five painters and the movement that inverse mod art. New York: Little, Chocolate-brown and Company, 2018
  • Helen Frankenthaler, Later Mountains and Sea: Frankenthaler 1956-1959 (New York : Guggenheim Museum, ©1998.) ISBN 0-8109-6911-4, ISBN 978-0-8109-6911-7 ISBN 978-0892071975
  • Marika Herskovic, New York Schoolhouse Abstruse Expressionists Artists Pick by Artists, (New York School Printing, 2000.) ISBN 0-9677994-0-vi. p. 16; p. 37; pp. 142–145, York 1986. ISBN 0-87099-477-8
  • Pollock, Griselda, "Killing Men and Dying Women". In: Orton, Fred and Pollock, Griselda (eds), Avant-Gardes and Partisans Reviewed. London: Redwood Books, 1996. ISBN 0-7190-4398-0
  • Wilkin, Karen. Frankenthaler: Works on Paper 1949-1984, George Braziller (Feb 1985), ISBN 978-0-8076-1103-vi

Bibliography [edit]

  • Alison Rowley, Helen Frankenthaler: Painting History, Writing painting. I.B.Tauris Publishers, 2007.
  • Helen Frankenthaler in Interview with Henry Geldzahler, in Theories and Documents of Contemporary Fine art, edited by Kristine Stiles and Peter Selz, Berkeley: University of California Press, 1996, pp. 28–30. ISBN 0-520-20253-8
  • Helen Frankenthaler in 'Oral history Interview with Barbara Rose, 1968, for the Archives of American Art - Smithsonian Establishment

External links [edit]

  • Helen Frankenthaler Foundation
  • Archives or American Fine art, Smithsonian Constitute: Oral History Interview
  • Video: Helen Frankenthaler at Turner Contemporary, Margate by Laura Bushell on Artinfo iv March 2014
  • Roberta Smith, "Ii Artists Who Embraced Freedom" New York Times, 12/29/eleven
  • Helen Frankenthaler Artwork Examples on AskART.
  • "Frankenthaler's New Mode of Making Fine art", The Wall Street Journal, November 8, 2008
  • Helen Frankenthaler in the National Gallery of Australia's Kenneth Tyler Collection
  • Helen Frankenthaler "Contemporary Experience Lecture" The Baltimore Museum of Fine art: Baltimore, Maryland, 1970 Archived 2015-06-01 at the Wayback Machine Accessed June 26, 2012
  • Helen Frankenthaler in the Utah Museum of Fine Arts Collection

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Source: https://en.wikipedia.org/wiki/Helen_Frankenthaler

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