Helen Frankenthaler is an American-born painter, printmaker, and sculptor who, along with fellow artists Kenneth Noland and Morris Louis, spearheaded the practice of Color Field painting, a component of Abstract Expressionism. Her innovative technique, along with her use of landscape to inform her abstract work, changed the way artists conceived of and used color in their own work and made her the most prominent female member of the Abstract Expressionist and Color Field Painting movements.

• Frankenthaler echoed Jackson Pollock in both the large scale of her canvases and her decision to paint on the floor rather than on an easel. Unlike Pollock, however, her paintings conveyed a tranquil experience of the natural world rather than an intermittently ominous sense of the sublime.
• Frankenthaler emphasized the role of her "wrist" as her own personal artistic signature and in this way aligned herself with the Abstract Expressionists and the importance they placed on the visibility of "the artist's hand" in a painting.
• Frankenthaler's use of light hearkens back to landscape painters of earlier centuries who used light from the natural world to define focal points and illuminate their works, but absent in her work is the religious sentiment they sought to inspire.

Helen Frankenthaler was born and raised in a wealthy Manhattan family with her two older sisters. Her parents fostered her talent from a young age, sending her to progressive, experimental schools. The family took many trips in the summertime and it was during these trips that Frankenthaler developed her love of the landscape, sea, and sky. Her father was a judge on the New York State Supreme Court and died of cancer when she was eleven years old. This affected her immensely, sending Helen into a four-year period of unhappiness during which time she suffered from intense migraines.

At fifteen Frankenthaler was sent to the Dalton school and began to study under the muralist Rufino Tamayo. By the time she was sixteen, she decided to become an artist, enrolling in Bennington College in Vermont where she studied under Paul Feeley, who was fundamental in arranging exhibitions of Abstract Expressionists.

In 1948, Frankenthaler moved back to New York. Two years later she met art critic Clement Greenberg at an exhibition she organized for Bennington alumnae. This meeting began a romantic relationship between the two that would last for the next five years, during which time Greenberg introduced her to prominent painters such as Willem de Kooning, Lee Krasner, Jackson Pollock, and Franz Kline. Greenberg also prompted Frankenthaler to study under Hans Hofmann in 1950. 1952 marked a pivotal moment for Frankenthaler. After a trip to Nova Scotia, she created Mountains and Sea, her first mature, influential work where she pioneered her soak-stain technique. Working on the floor on a large canvas, Frankenthaler thinned her oil paints with turpentine and used window wipers, sponges, and charcoal outlines to manipulate the resulting pools of pigment. Greenberg took Morris Lewis and Kenneth Noland to Frankenthaler's studio to see Mountains and Sea, and it was their excitement over this piece that led to their experimentation with Frankenthaler's soak-stain technique and to their ultimate participation in the Color Field movement. In the years that followed, Frankenthaler continued to work using her new methods, drawing on her abiding love of the landscape to inspire her work. In 1957, she met fellow artist Robert Motherwell, and the following year they began their 13-year marriage, marking a period of mutual influence in their artwork.

In the 1960s, Frankenthaler began to use acrylic paint in place of oil. Paintings like Canyon, show the large washes of bright color over the picture plane that were possible with new materials. In 1964, her work was included in an exhibition curated by Clement Greenberg at the Los Angeles County Museum of Art. Greenberg titled the show, Post-Painterly Abstraction, identifying a new strain of painting born out of Abstract Expressionism. Frankenthaler also began to show internationally, exhibiting at the International Biennial of Art in Venice in 1966 and in the United States Pavilion at Expo in Montreal in 1967. She also began to hone her skills in alternate media at this time, and embraced printmaking, creating woodcuts, aquatints, and lithographs that rivaled her painting in craftsmanship.

After her divorce from Motherwell in 1971, Frankenthaler traveled West, as many artists had before her. Two mid-1970s trips resulted in Desert Pass and several other works that reflected the color and tones of the Western landscape.

Frankenthaler continued making art during the 1980's and '90s, through today, celebrating her eightieth birthday in 2008. She has experimented with a variety of media, including clay and steel sculpture, even designing the sets and costumes for England's Royal Ballet, but has always found the greatest success in focusing on color and light. Frankenthaler lives in Manhattan and has a summer home in Connecticut where she still enjoys the sea and sky that inspired her in her youth.

Frankenthaler was recently honored at the prominent Knoedler and Company gallery with an exhibition titled Frankenthaler at Eighty: Six Decades. With honorary doctoral degrees in painting from both Harvard and Yale and her work selling at among the highest prices of any female artist, Frankenthaler has arguably had the longest, most productive and most successful career of any woman artist. Her impact on the course of Modern art has earned her unquestionable significance in art history.


Below are Helen Frankenthaler's major influences, and the people and ideas that she influenced in turn.



"What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?"

"Every so often every artist feels, 'I'll never paint again. The muse has gone out the window.' In 1985, I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away."

"Being the person I was and am, exposed to the things I have been exposed to, I could only make my painting with the methods -- and with the wrist -- I have."