Helen Frankenthaler

http://www.deutsche-bank-knust.com/guggenhein/alt/05/english/ausstellung/index.html

Abstract Expressionist Painter, Born 1928

The American painter Helen Frankenthaler is a second-generation abstract expressionist widely considered "the country's most prominent living female artist." A New York City native, Frankenthaler was graduated from the Dalton School, where she studied with the Mexican painter Rufino Tamayo. After earning her B.A. degree at Bennington College in Vermont, she moved back to New York. In 1950 Frankenthaler encountered the influential art critic Clement Greenberg, through whom she met the major figures in New York's avant-garde art world. http://www.nmwa.org/collection/profile.asp?linkID=249

HELEN FRANKENTHA

LER b. 1928Viewpoint II,

1979Acrylic on

canvas, 81 1/4 X 94 1/2" (206.38 X

240.03 cm.)Signed, lower

rightGift of Paul and

Suzanne Donnelly

Jenkins, 989-0-108

http://www.butlerart.com/pc_book/pages/helen_frankenthaler_b.htm

The use of unprimed canvas and the artist's union of figure and ground were triggered by an encounter with Jackson Pollock's black-and-white paintings at an exhibition at the Betty Parsons Gallery, New York in 1951. Pollock's rejection of the conventional brush and easel encouraged Frankenthaler's more liberated approach to the canvas.

• http://www.deutsche-bank-knust.com/guggenhein/alt/05/english/ausstellung/index.html

Helen FrankenthalerAmerican, born 1928Untitled (study for Postcard for James Schuyler), 1962Drawing in acrylic, oils, and crayon over a lithograph, on cream paper19 7/8 x 25 3/4 in. (50.7 x 65.4 cm)Gift of Mrs. George R. Rowland, Sr., 1994 1994.118http://www.mfa.org/handbook/portriat.asp?id-378&s=9

• The work of Jackson Pollock proved the decisive catalyst to the development of her style. Immediately appreciating the potential, not fully developed by Pollock, of pouring paint directly onto raw unprimed canvas, she thinned her paint with turpentine to allow the diluted color to penetrate quickly into the fabric, rather than build up on the surface. This revolutionary soak-stain approach not only permitted the spontaneous generation of complex forms but also made any separation of figure from background impossible since the two became virtually fused a technique that was an important influence on the work of other painters, particularly Morris Louis and Kenneth Noland.

http://www.artchive.com/artchive/ftpoc/frankenthaler_ext.html

Mountains and Sea1952Oil on canvas7' 2 5/8" x 9' 9 1/4"National Gallery of Art, Washington http://www.artchive.com/artchive/ftpoc/frankenthaler_ext.html

• By pouring thinned-down paint directly onto bare canvas that absorbed the pigment into its fibers, the artist created breathing landscapes of transparent planes of color washes. Frankenthaler, who insists she is not an Action painter, makes the fluidity of the paint as it seeps into and through the canvas – not the gesture of the painter, as in Pollock's drips – primary to the animation of her work. http://www.deutsche-bank-knust.com/guggenhein/alt/05/english/ausstellung/index.html

Seeing the Moon on a Hot Summer Day1987Acrylic on canvas8' 7 3/8" x 5' 4 1/4"Private collection http://www.artchive.com/artchive/ftpoc/frankenthaler_ext.html

For many years Frankenthaler executed stained canvases that seem nonrepresentational, but which are actually based on real or imaginary landscapes. During the summers, she worked in Provincetown, Massachusetts, and in the mid-1970s she bought a second home and studio in Connecticut. In addition to her two-dimensional work, Frankenthaler produced welded steel sculptures; she has also explored ceramics, prints, and illustrated books, and in 1985 she designed the sets and costumes for a production by England's Royal Ballet. She has taught at New York University, Harvard, Princeton, and Yale and has had numerous one-woman exhibitions of her work, including important retrospectives at the Whitney Museum of American Art in 1969 and New York's Museum of Modern Art in 1989. Frankenthaler has won many awards and has been the subject of a documentary film. http:www.nmwa.org/collection/profile.asp?linkID=249

Helen FrankenthalerCaptain's Watch, 1986acrylic on canvas76 3/4 x 58 3/4 in http://www.ackland.org/art/exhibitions/patton/frankenthaler.html

Helen Frankenthaler

La Sardana

Lithograph and etching in 5 colors

1987 35 x 25-3/8 inches

Edition of 60; Signed and numbered. $3700.00 http://www.djtfineart.com/cgi-bin/fine-art/gallery.html?category=frankenthaler&item=art00503&type=gallery

Helen Frankenthaler

Ramblas

Lithograph and etching

1988

34 x 26 inches

Edition of 75. Signed and numbered

$3800.00http://www.djtfineart.com/cgi-bin/fine-art/gallery.html?category=frankenthaler&item=art00082&type=gallery