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Artists Helen Frankenthaler
Helen Frankenthaler Photo

Helen Frankenthaler

American Painter

Movements and Styles: Abstract Expressionism, Color Field Painting

Born: December 12, 1928 - New York, New York

Died: December 27, 2011 - Darien, Connecticut

Helen Frankenthaler Timeline

Quotes

"A really good picture looks as if it's happened once. It's an immediate image."
Helen Frankenthaler
"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."
Helen Frankenthaler
"Sometimes I think the worst thing is the current 'worldliness' of the whole [art] scene. It is the most deceptive, corrupting, transient thing, full of kicks and fun but so little to do with what it's all really about... It has to do with our time, a desperate pact about the power of immediate-in-ness. But I feel less and less concerned with this as an issue. So what? No threat."
Helen Frankenthaler
"There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about."
Helen Frankenthaler
"Whatever the medium, there is the difficult, challenge, fascination and often productive clumsiness of learning a new method: the wonderful puzzles and problems of translating new materials."
Helen Frankenthaler
"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."
Helen Frankenthaler
"The landscapes were in my arms as I did it."
Helen Frankenthaler

"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?"

Helen Frankenthaler Signature

Synopsis

Helen Frankenthaler was among the most influential artists of the mid-20th century. Introduced early in her career to major artists such as Jackson Pollock and Franz Kline (and Robert Motherwell, whom she later married), Frankenthaler was influenced by Abstract Expressionist painting practices, but developed her own distinct approach to the style. She invented the "soak-stain" technique, in which she poured turpentine-thinned paint onto canvas, producing luminous color washes that appeared to merge with the canvas and deny any hint of three-dimensional illusionism. Her breakthrough gave rise to the movement promoted by the influential art critic Clement Greenberg as the "next big thing" in American art: Color Field Painting, marked by airy compositions that celebrated the joys of pure color and gave an entirely new look and feel to the surface of the canvas. 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.

Key Ideas

While creating Mountains and Sea (1952), Frankenthaler arrived at her innovative variant of Jackson Pollock's pouring technique, in which she likewise poured paints onto enormous canvases placed on the floor. But while Pollock used enamel paints, which remain on the surface of the canvas when dried, Frankenthaler poured oil paints that she had thinned with turpentine that then soaked into the fabric of the canvas. Frankenthaler's soak-stain process created luminescent, misty compositions dominated by large areas of color that seemed to have emerged onto the canvas naturally and organically.
Frankenthaler's work influenced Morris Louis and Kenneth Noland, who recognized works like Mountains and Sea as a mode of abstract painting that moved beyond Pollock's textured, psychologically fraught canvases to compositions almost entirely based on color. On the basis of the soak-stain technique and the color wash, Frankenthaler, Louis, and Noland went on to develop Color Field Painting. In such works, the entire space of the picture is conceived as a "field" that appears to spread beyond the edges of the canvas; figure and ground became one and the same, and three-dimensional illusionism is completely jettisoned.
In another major departure from first-generation Abstract Expressionism, Frankenthaler was an abstract artist for whom the natural landscape - rather than the existential confrontation with the canvas or search for the sublime - served as the major focus and inspiration. Her pared-down forms were often informed by her impressions of nature, be they the arid terrain of the American Southwest; a mulberry tree seen in upstate New York; or the Long Island Sound, viewed from the artist's home in Darien, Connecticut.
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. 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.

Biography

Helen Frankenthaler Photo

Childhood

Helen Frankenthaler was born and raised in a wealthy Manhattan family with her two older sisters. Her parents recognized and fostered her artistic 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. The loss affected her deeply, sending Helen into a four-year period of unhappiness during which time she suffered from intense migraines.

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Helen Frankenthaler Biography Continues

Important Art by Helen Frankenthaler

The below artworks are the most important by Helen Frankenthaler - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Mountains and Sea (1952)
Artwork Images

Mountains and Sea (1952)

Artwork description & Analysis: This canvas is the artist's landmark piece in which she first pioneered her soak-stain process. Despite its large size (7 x 10 feet), it is a work of quiet intimacy. Painted on the artist's return from Nova Scotia, Mountains and Sea retains the artist's impressions of the Cape Breton environs; as she famously described, the region's landscapes "were in my arms as I did it ... I was trying to get at something - I didn't know what until it was manifest." Here, color takes on a new, primary role, with washes of pink, blue, and green defining the hills, rocks, and water, the forms of which are sketchily outlined in charcoal. Following their encounter with Mountains and Sea and other works by Frankenthaler produced by means of the soak-stain technique, Morris Louis and Kenneth Noland promptly embraced the method and, together with Frankenthaler, launched the "next big thing" in American art: Color Field Painting.

Oil on canvas - National Gallery of Art, Washington, D.C.

Canyon (1965)
Artwork Images

Canyon (1965)

Artwork description & Analysis: The topographical features of the landscape often served as inspiration for Frankenthaler's abstract imagery. With its brilliant red wash filling most of the canvas, Canyon reflects the change in Frankenthaler's artistic practice introduced several years earlier, when she began replacing turpentine-thinned oil with watered-down acrylic poured in larger stains and blots. The painting's gentle luminosity evokes the art critic Nigel Gosling's 1964 description of Frankenthaler's work, written in connection with the artist's London gallery exhibition of that year: "If any artist can give us aid and comfort, Helen Frankenthaler can with her great splashes of soft color on huge square canvases. They are big but not bold, abstract but not empty or clinical, free but orderly, lively but intensely relaxed and peaceful."

Acrylic on canvas - The Phillips Collection

Savage Breeze (1974)
Artwork Images

Savage Breeze (1974)

Artwork description & Analysis: Depicting an open space above a mountain-like divide, Savage Breeze was Frankenthaler's first foray into the medium of woodcut. Her concern in this work with achieving the same vibrant color and amorphous forms as her painting resulted in a major technical innovation for this art form. The artist cut a thin sheet of plywood into separately inked shapes and then, in collaboration with ULAE (Universal Limited Art Editions), the Long Island studio that printed the work, devised a special method for eliminating the white lines between them when printing. The newly designed technique - hailed by one writer as "a departure so profound that virtually all subsequent woodcuts incorporated the thinking it embodied" - had a major impact on subsequent printmaking. Indeed, Savage Breeze is far removed from the graphic appearance of the traditional woodblock print, giving the appearance of painted, rather than carved, wood.

Woodcut

More Helen Frankenthaler Artwork and Analysis:



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Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Helen Frankenthaler
Interactive chart with Helen Frankenthaler's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart

Artists

Hans HofmannHans Hofmann
Jackson PollockJackson Pollock
Willem de KooningWillem de Kooning
Rufino TamayoRufino Tamayo

Personal Contacts

Robert MotherwellRobert Motherwell
Clement GreenbergClement Greenberg

Movements

CubismCubism
Abstract ExpressionismAbstract Expressionism

Influences on Artist
Helen Frankenthaler
Helen Frankenthaler
Years Worked: 1952 - Present
Influenced by Artist

Artists

Kenneth NolandKenneth Noland
Morris LouisMorris Louis
Jules OlitskiJules Olitski

Personal Contacts

Clement GreenbergClement Greenberg

Movements

Abstract ExpressionismAbstract Expressionism
Color Field PaintingColor Field Painting

Useful Resources on Helen Frankenthaler

Books

Websites

Articles

Audio

Videos

More

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Originals: American Women Artists Recomended resource

By Eleanor Munro

Helen Frankenthaler: Painting History, Writing Painting Recomended resource

By Alison Rowley

paintings

After Mountains and Sea: Frankenthaler 1956-1959

By Julia Brown, Edited by Susan Cross

Frankenthaler: The Woodcuts

By Judith Goldman

More Interesting Books about Helen Frankenthaler
National Gallery of Australia

Extensive exhibition website dedicated to her woodcuts

Helen Frankenthaler: A Wind That Lashes Everything at Once Recomended resource

By Jerry Saltz
ArtNet Magazine
December 28, 2011

Article: Helen Frankenthaler, Abstract Painter Who Shaped a Movement, Dies at 83

By Grace Glueck
The New York Times
December 27, 2011

Art in Review; Helen Frankenthaler

By Martha Schwendener
The New York Times
December 29, 2006

Frankenthaler's New Way of Making Art

By William C. Agee
The Wall Street Journal
November 8, 2008

More Interesting Articles about Helen Frankenthaler
'Color Field' Artists Found a Different Way Recomended resource

Profile of Helen Frankenthaler
By Susan Stamberg
NPR
March 4, 2008

Abstract Artist Helen Frankenthaler Dies at Age 83

By Joel Rose
NPR
December 27, 2011

in pop culture

The Art of Influence

One of the fifteen artists focused on in this film, Frankenthaler discusses Jackson Pollock's influence on her work

Painters Painting

This film includes Frankenthaler in a survey of how Abstract Expressionist artists accomplished their work

Who Gets to Call it Art?

Includes a small amount of archival footage of Frankenthaler

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Cite this page

Content compiled and written by Jessica Shaffer

Edited and published by The Art Story Contributors

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Jessica Shaffer
Edited and published by The Art Story Contributors
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