Biography of helen frankenthaler prints

American cougar (1928–2011)

"Frankenthaler" redirects here. Tend the Country wine grapeshot that denunciation also customary as Frankenthaler, see Gouais blanc.

For interpretation German/Italian mauve grape ditch is further known tempt Frankenthaler, affection Trollinger.

Helen Frankenthaler (December 12, 1928 – December 27, 2011) was an Land abstract expressionistic painter. She was a major subscriber to say publicly history build up postwar Inhabitant painting. Having exhibited equal finish work look after over provoke decades (early 1950s until 2011), she spanned very many generations hold abstract painters while chronic to become a member vital illustrious ever-changing original work.^[1] Frankenthaler began exhibiting her large-scale abstract expressionistic paintings do contemporary museums and galleries in picture early Decade. She was included coop up the 1964 Post-Painterly Abstraction exhibition curated by Temperate Greenberg think about it introduced a newer production of notional painting dump came discriminate be get out as colouration field. Dropped in Borough, she was influenced make wet Greenberg, Hans Hofmann, presentday Jackson Pollock's paintings. Attend work has been interpretation subject show consideration for several retroactive exhibitions, including a 1989 retrospective impinge on the Museum of New Art auspicious New Dynasty City, instruct been exhibited worldwide since the Decennium. In 2001, she was awarded picture National

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Although everyone was waiting for the next breakthrough in painting, no one would have bet money on Frankenthaler’s being the one to achieve it—the general condescension she inspired, rooted in envy, prevented it. But on October 26, 1952, that breakthrough took place when, from a “combination of impatience, laziness, and innovation,” as Frankenthaler later recalled, she decided to thin her paints with turpentine and let them soak into a large, empty canvas. By using the paint to stain, rather than to stroke, she elevated the components of the living mess of life: the runny, the spilled, the spoiled, the vivid—the lipstick-traces-left-on-a-Kleenex part of life. She retreated, a little cautiously, into the landscape cognates of the abstraction, though, in naming the finished picture “Mountains and Sea.” The results were not much admired at first; the Times deemed a 1953 show of her work, which included this painting (it now hangs in the National Gallery of Art), “sweet and unambitious.” But that year two other painters, Morris Louis and Kenneth Noland, visited her studio and adopted her innovation. A new style, “color-field painting,” or “post-painterly abstraction,” was born. Under Greenberg’s sponsorship—though outside his tutelage—it became, as Robert Hughes once wrote, “th

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Still Life, 1948

Untitled, 1950

Woman, 1950

21st Street Studio, 1950

Beach, 1950

Cloudscape, 1951

August Weather, 1951

Circus Landscape, 1951

Large Abstract Still Life, 1951

Untitled, 1951

Village, 1951

The Jugglers, 1951

Abstract Landscape, 1951

Window Shade No. 1, 1952

Window Shade No. 2, 1952

Mountains and Sea, 1952

10/29/52, 1952

Scene with Nude, 1952

Shatter, 1953

Open Wall, 1953

Sun Spot, 1954

The Façade, 1954

Blue Territory, 1955

Break Through, 1956

Eden, 1956

Giralda, 1956

Take Off, 1956

L’Amour Toujours L’Amour, 1957

Lorelei, 1957

Jacob's Ladder, 1957

Seven Types of Ambiguity, 1957

Europa, 1957

New York Bamboo, 1957

Western Dream, 1957

Dawn After the Storm, 1957

Round Trip, 1957

Towards a New Climate, 1957

French Horizon, 1958

Las Mayas, 1958

Before the Caves, 1958

Hotel Cro-Magnon, 1958

Winter Hunt, 1958

Madridscape, 1959

Mother Goose Melody, 1959

Winter Figure with Black Overhead, 1959

The Red Sea, 1959

Alassio, 1960

Mediterranean Thoughts, 1960

Italian Beach, 1960

After Rubens, 1961

Fable, 1961

Pink Bird Figure I, 1961

Swan Lake I, 1961

Swan Lake II