MS. ROSE: Were you with Friedl in the spring of '52? MS. ROSE: Did Friedl paint on the floor at that time? MS. ROSE: Find the faces of --. MS. FRANKENTHALER: Well, I think it's a life measuring stick. But one of them was at Clem's on Bank Street that I brought up to show him or something. First Names. That is what invention is about. In 1994, she married Stephen M. DuBrul, Jr., an investment banker who served the Ford administration. But when it came to an entourage they camped with Bill. Helen Frankenthaler (1928- 2011) was a painter from New York, N.Y. Provenance This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. It was marvelous. And that Pollock instead opened up what one's own inventiveness could take off from. MS. FRANKENTHALER: No, in the fall of '52. And the meantime I stayed in touch with Dalton as sort of a post-graduate student and continued with Tamayo. The full text of the article is here , en.wikipedia.org/wiki/Helen_Frankenthaler, Hunter College, City University of New York, New York City, NY, US, National Academy Museum and School (National Academy of Design), New York City, NY, US, http://en.wikipedia.org/wiki/Helen_Frankenthaler. 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. And he had great trouble disciplining. It was a nightmare. And I was overwhelmed and puzzled and knew that this was my message, that this was a, what do you call it? But then, say, Sonya [Rudikoff] or I would say something about a Mondrian and he would do a complete double take in the middle of it, I mean he would turn and go like this and "ahh" and for the first time in his life a thought crossed. She shook me upside down. MS. ROSE: Where was this? May 14, 1989, Profile of Helen Frankenthaler / Do you see any breaks in your work? And of course another association as an adult would be the whole Rorschach experience, which was also important to me. Joan Mitchell showed there. And that used to fascinate me. Helen Frankenthaler Biography. "She realized what was possible . In the 1970s, her surfaces became denser and more worked, as is the case in Salome (1978), which uses much more contrasted colour overlaps on surfaces to express movement. Helen Adams Keller (June 27, 1880 - June 1, 1968) was an American author, disability rights advocate, political activist and lecturer. There were pictures I liked equally well that I could see nothing in that had anything to do with subject matter. Anyway, since I had met Grace and Al and that whole gang everybody went to Boyle's on Wednesdays [inaudible] so that I had already been sizing and priming huge bolts of duck. And I can bring it about now and pointing you see a certain configuration of wrinkly designs. I mean I can do a tree or a face or a chair. And nail polish is essentially enamel. Like make a painting that was more [inaudible] then--. Most of the people were dingy. MS. FRANKENTHALER: I have some early watercolors of 1951 that are, well, what fascinated me, I said before, it was Picasso and then there were all the others that I was learning to see and digest. 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. MS. FRANKENTHALER: Yes. And then all kinds of things happened. 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. MS. FRANKENTHALER: But there you're a member of a team, and I'm not a competitive athlete. I think it was Matisse. I graduated from Dalton, one of their special students, one of the heads of the class yearbook with friends I still have. MS. ROSE: Well then, of course I guess it would be Bob next that happened. But I mean I was already in the Bennington swing of myth, ritual, criticism. But I did more abstract things and larger things. MS. FRANKENTHALER: Well, over the years I've done different things at different times with corners, even using them or ignoring them or pretending they're not corners, or feeling very grateful that there are four corners, or painting as if the corners were miles beyond my reach or vision and that they were only centers of periphery, at other times feeling I want edges and limits defined. I thought that Pollock was really the one living in nature much more than Bill [de Kooning]. But at the end of that winter a woman named Mrs. Cartier at the Seligmann Gallery, which still exists on 57th Street, called and said would I organize a show for Bennington graduates, not for fund raising but sort of to show how advanced Bennington work is. At that time he was on the wagon and he sat on the floor in Clem's apartment and was sober and totally silent, withdrawn, probably very depressed. I mean for a decade there was just that little difference. And that's very encouraging. Recipients. And we discussed which ones we liked better or worse than others. Some other time I'll go into my appraisal of Grace's talent and personality. The war had just started, my father had died, I was changing schools. I have a couple of pictures that, well, one of them looks like a design pattern all over. Located in the Donald W. Reynolds Center for American Art and Portraiture (8th and F Streets NW), Size: Sound recording: 1 Sound tape reel, 7 in. [Laughter]. 1:00 p.m.4:00 p.m. In 1950 she was wowed by the ropes and squiggles of paint Pollock was wrestling onto unstretched canvas on the floor of his barn. And I would get these terrible, stomach panic attacks of, I must not see a doctor, I can't. And it's also very restful. Helen Frankenthaler, Canyon, 1965. And I was a mess. Aesthetically, socially, in every way the de Kooning thing seemed to be much more productive, planned, admirable at the time. Helen Frankenthaler Prints and Proofs of the 1960s from the Artist's Archive June 4 - August 13, 2010 Installation Views Selected Works Thumbnails Back Installation view of Helen Frankenthaler: Prints and Proofs of the 1960s from the Artist's Archive at Craig F. Starr Gallery Prev Next Press Release NEW YORK - Artists Helen Frankenthaler I think what I missed from him, and I made it work despite the fact that I missed his emphasis on color, I didn't push and pull it with color. There was August and the summer was over. I mean it was sort of like you were born with a bang and you were special [inaudible]. It was a serious job. MS. ROSE: With what's around, in other words? Now [inaudible] she's left there. MS. FRANKENTHALER: Yes, at a certain period. I said I might go, I don't know, I had other things to do, we weren't close any more. But he really understood the origins of Cubism, and not late [Pablo] Picasso, [Georges] Braque, but the early, I mean the 1910 period. It was in 1946. And there was a fantastic recognition and a permanent road into each other. Not Soutine, [Alfred] Sisley. The doctors made him stop playing. At one time a complete exercycle set arrived. The party was over. And then a much smaller one that is, you saw it at the house, it was on the top floor. But it used to be thrilling. Helen Frankenthaler has long held the highest rank in contemporary painting. And she took me in and I skipped my junior year in high school. And terrified of letting her know I felt that way. MS. ROSE: What did you do? The first show I remember seeing was the Surrealist show at the [Metropolitan] Museum. I mean I worked on big pictures. Because, it's light in the painting that makes it work. I mean it would be too brown or too green. Helen Frankenthaler A GIFT OF ART Helen Frankenthaler's Provincetown Helen Frankenthaler's Provincetown years were peppered with painting and parenting, swimming and socializing. And I became very friendly with Frieda so that I made new friends that were --. You know, I mean I feel a connection with painters of the past or present but none you could say are women. Helen Frankenthaler Vessel 1961, oil paint on canvas, 2540 x 2390 mm, . MS. ROSE: What gave you the idea? Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. He would be either very shy and drunk, or sober and shy, or aggressive and drunk. MS. FRANKENTHALER: I painted like, in the Bennington development I painted like Picasso, or tried to. Her paintings of the 1980s reverted to a Cubist framework combined with a more spontaneous workmanship, particularly in her use of whites. Frankenthaler was born on December 12, 1928, in New York City. She put me right into the senior class. MS. FRANKENTHALER: Yes, a lot meaning they lived in East Hampton, we lived in New York. Cite This Collection "Deutschland, Hessen, Frankfurt, Standesbcher 1928-1978." Database with images. Helen Frankenthaler Foundation gives $3m in grants for environmental projects at 49 US art organisations; 27 July 2022 | Daily Art Magazine Keeping up with the Boys: Abstract Expressionist Helen Frankenthaler; 22 April 2022 | USA ART News Helen Frankenthaler Foundation Give Out $2.5 M. to Ukrainian Artists and At-Risk Heritage MS. FRANKENTHALER: No, not very much. I often find similarities between you. And we paid $14 a month, it was cold water. MS. ROSE: You brought him into the studio in the fall of '52. Yes. Penguin Press. By that I don't mean filling in the line. I like many Rembrandts [van Rijn] but I often feel about Rembrandt the way I feel about Beethoven. Language Note English . MS. FRANKENTHALER: No. I mean, I think in one sense he thought, "Who the hell are you to come up with it?" MS. ROSE: What were you painting at that point? The following year, Greenberg brought the painters Morris Louis and Kenneth Noland to Frankenthaler's studio to see Mountains and Sea; their excitement over the work led to their experimentation with Frankenthaler's soak-stain technique and to the development, with Frankenthaler, of Color Field Painting. Browse All 16,700 Images. MS. FRANKENTHALER: He liked it. She made use of large formats on which she painted, generally, simplified abstract compositions. MS. FRANKENTHALER: Yes. MS. ROSE: It drips. He's not well liked but he still has that sort of beaming, loose, proud smile and he was very proud of me. Yeah. Two things: What is the first painting you painted on the floor? Do you have no [inaudible]upstairs? I forgot what the name of the show was. And it was a takeoff from Cy. MS. FRANKENTHALER: Well, I understand what's meant when that word is used in relation to my pictures. MS. FRANKENTHALER: No, he taught Tamayo. And it's an exercise and a challenge that I love. MS. ROSE: Oh, I know he actually studied with Clem. I mean Clem certainly did not. MS. FRANKENTHALER: Uh, '56. No, I have a feeling it was 1953-1954 maybe. I did it largely because I wasn't sure about painting myself, and if I was sure, I had to prove to my family that I was also doing something legitimate and serious, and that sounded like a master's degree at Columbia. John Elderfield, Frankenthaler, New York, Harry N. Abrams, 1989, Pegram Harrison & Suzanne Boorsch, Frankenthaler: A Catalogue Raisonn, Prints, 1961-1994, New York, Harry N. Abrams, 1996, Clearwater Bonnie (ed. MS. FRANKENTHALER: Oh. SIDE B And lived on Newbury Street with two other girls in a renovated portrait gallery. Frankenthaler had been on the faculty of Hunter College. MS. FRANKENTHALER: The idea was that I was, and in those days these were the words, high strung, nervous, upset about my father's death, sometimes a bad child, had headaches the way my father did. MS. ROSE: What did he say about your painting? Titian, [Diego] Velasquez, on and off, but now more. In fact, one of the reasons I might have used the plaster of Paris was that I wanted that thing that you get on the floor but I didn't know yet that it had to be on the floor. MS. FRANKENTHALER: I don't remember. I mean his whole style was energy, curiosity, appetite. in Fine Arts, and that was because --. The following oral history transcript is the result of a tape-recorded interview with Helen Frankenthaler in 1968. MS. ROSE: How did this change your life? Whether I was Clem's girl or was somebody else there or not, you know. I had my own bathroom and a very small sink and on rainy days I would take my mother's nail polish, and in those days women wore that blood red, you know, different kinds of bloody red polish. Organised by the Helen Frankenthaler Foundation in conjunction with Venetian Heritage, it is the first presentation of her work in Venice since 1966, when she was a star of the American pavilion alongside Roy Lichtenstein, Ellsworth Kelly and Jules Olitski. But I didn't think so. Did you go to the Modern [Museum of Modern Art, Manhattan, New York] often? And I was introduced to it by Clem. I had no first winter period because I started the winter after the non-resident term, I started college then. ; 41 Pages, Transcript. Frankenthaler's soak-stain technique gave rise to the Color Field movement, having a decisive impact on the work of the other artists associated with this style, such as Morris Louis, Kenneth Noland, and Jules Olitski. [Inaudible]. And Jackson was protecting himself and working in East Hampton. Mountains and Sea, painted when she was barely into her twenties, is credited with introducing the lyrical use of color into abstract expressionism. MS. ROSE: Like [inaudible], like hide and seek. The New York City-based Helen Frankenthaler Foundation, established and endowed by the artist during her lifetime, is dedicated to promoting greater public interest in and understanding of the visual arts. And didn't want to stay in school, as I said before, to learn about studio drawing. In other words, where and how much to put the crescent-shaped black line. Number 14 was one I always remember. And then I forget how, where did the money come from? Once when he came to New York from Long Island [New York] to have a drink with Clem and I stayed for a little while because I knew their relationship was a kind of code, and different, unusual. MS. FRANKENTHALER: Gorky or Picasso. MS. FRANKENTHALER: Well, as I said before, by the time I graduated I really understood how to paint a Cubist picture. I was fifteen the middle of May, no, sixteen. MS. ROSE: Do you feel you got anything particularly from Hofmann? MS. FRANKENTHALER: No. The New York Times / Or romantic. And they'd always be arranged from the very tight later Cubism, sort of Cubist Kandinskys and the early small Redonesque ones that I have always liked and responded to much more. I was much more involved in criticism, working really with Burke, I mean --. MS. FRANKENTHALER: Oh, whenever I went there. One is it's a kind of boring accident to me, a drip. I studied with Meyer Schapiro. I joined in December of course, or January or something like that. Anyway, my great luck, which I won't go into in detail, I went to Dalton. I was in very bad straits. By clicking "Accept" you agree to our terms and may continue to use Kinfolk.com. Born in West Tuscumbia, Alabama, she lost her sight and her hearing after a bout of illness at the age of 19 months. I didn't like it. But when he saw Mountains and Sea they really admired it, admired me, wondered at it, and were going to lick it. And I liked that. Extensive exhibition website dedicated to her woodcuts, By Jerry Saltz / And they were making match boxes and actually playing cards instead of [inaudible]. I mean did you feel you were more interested in color? And the Friedmans, who are old friends of mine, asked me to come to the dinner party that they were having, a lot of people. He called to get your telephone number. MS. FRANKENTHALER: Well, what happened was that, and I never know in this where and when and how to mention names or sentimental things, but I'll do it as it comes. She married very late in life. MS. ROSE: But you went through a lot of stuff and you went to a lot of shows. Helen Frankenthaler: Late Works, 1988-2009 is the first book to explore the late period of Frankenthaler's art and life. Helen Frankenthaler (American, 1928-2011) Paintings Also known as: Motherwell, Mrs. Robert Burns Birth Place: New York City (New York state, United States) Biography: Helen Frankenthaler was an abstract painter, who invented the technique of mixing turpentine with oil paints to create a staining effect. MS. FRANKENTHALER: Well, what I'm not clear about right now is, are we going to talk about history and development or about aesthetics. MS. FRANKENTHALER: Jim Brooks. But even then it was, you know, very casual and brief and without much exchange. I remember writing about the [inaudible] by Stamos and, you know, his calling up and having a fit and saying, "Who is this?" ", "There are no rules. It had nothing to do with art at all. It seemed to have much more complication and order of a kind that at that time I responded to. And I think that's one reason that, I mean, I took pictures off the wall. I would look at a chair, know it was a chair, know it had a word, know it was a word I used all the time, and would through some garbled way say to my mother to give me the name of what that thing was. This technique, from which Colour Field painting originated, would influence painters such as Morris Louis, Kenneth Noland, and Jules Olitski. MS. FRANKENTHALER: They came to town --. I mean just determined that he was going to make it and had the feelings to do it. [Inaudible.] I mean it doesn't fit this context. Identifying this new strain of painting that emerged out of Abstract Expressionism, Greenberg titled the show Post-Painterly Abstraction - his preferred title for the style of painting developed by Frankenthaler, Louis, and Noland, which is more generally referred to as Color Field Painting. Born in New York in 1928 (her father was a New York State Supreme Court judge), she first studied art with painter Rufino Tamayo . . But if somebody, if you have something in you and you have parents who project it, then you're armed in many ways, that you have some special quality, and they also think you're a super child, it follows, it also does terrible things. And Adolph Gottlieb was there for a drink one day and he saw it. Using mulberry juice to capture the tree's rich red, the artist achieved the quality of painting - defying the graphic nature and helping expand the possibilities of the medium. Helen Frankenthaler's final decade brought a surge of creativity, extending her approach to materials, color, and imagery while reflecting what came before. Courtesy the Helen Frankenthaler Foundation Archives, New York. Clem has a painting of mine which he loved and begged me to give him, which I did gladly. MS. FRANKENTHALER: Leslie. In 1984 Helen Frankenthaler was arguably one of the most famous painters in America. It was ironic that when we really did meet to confront each other that fall, late that fall, Thanksgiving, that many people thought that he and I had known each other very well before. MS. ROSE: Didn't your mother take you to a doctor at all? MS. ROSE: Friedl said you did it when you shared the studio with him. I mean there was no issue about taking them or not taking them. With its minimally defined forms and earthy palette, Desert Pass is an excellent example of the ways Frankenthaler responded to the natural landscape. Helen Frankenthaler | Jewish Women's Archive The Shalvi/Hyman Encyclopedia of Jewish Women Features thousands of biographic and thematic essays on Jewish women around the world. She was a major contributor to the history of postwar American painting. I looked at reproductions. MS. ROSE: What did you like about it? He said, "I don't like that one." And he was always terrified. Two years later, she met the prominent art critic Clement Greenberg (19 years her senior) at an exhibition she organized for Bennington alumnae. In other words, I mixed funny shades of colors and used them but I used them because they made the drawing in my picture move. MS. ROSE: Did you consciously do that? Terribly upsetting. MS. ROSE: What kind of things did he say? MS. FRANKENTHALER: Well, Clem really recognized and appreciated Pollock's pictures and was one of the first to read them for their real value. I would put droplets of it on the surface and watch it spread in this Paul Jenkins endless thing, endless fascination. Join a discussion exploring the life and work of a vital American painter. Helen Frankenthaler changed the course of American abstractionism with her free-flowing color fields and built a bridge between Pollock and what was possible, as one visitor to her studio gushed afterward. And they really did love each other. MS. ROSE: Did you ever talk about painting with Pollock? And there was a permanent Celotex rolling easel [inaudible] and on it would be tacked, oh, sometimes for ten minutes and sometimes for ten weeks one of a series of maybe a hundred Art News mounted on cardboard reproductions. And the whole school was nuts, I thought. As a whole, Frankenthalers style is almost impossible to broadly characterize. All Arts & Culture Stories But I think I was heading towards that need to make something that eventually had to be made by being put on the floor. 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. Mrs. Donald B. Straus Fund Size: 8' 7" x 7' 11" (261.5 x 241.2 cm) Medium: Acrylic on canvas. Washington, DC 20001, 300 Park Avenue South Suite 300 MS. FRANKENTHALER: Not then. The relationship was mainly Clem and Ken and Clem and Morris and mostly because they lived in Washington [D.C.] and wanted his eye. But there really wasn't terribly much that was necessary. And when you met Jackson? June, July, and August and the summer is over." Everyone got plastered. So that there was a real dialectic and thrilling and really brilliant, actually. MS. ROSE: Did you see how it was different from de Kooning? There were a number of pretty good painters. It was fabulous. Pollock followed intensely de Kooning, but I did not go for the de Kooning satellite group. And then to get publicity I called up Aline Saarinen at the [New York] Times, and Elliott. Would have gone out of his way almost [inaudible]. I still wanted to see everything that was going on and being shown. Because I think he had two. MS. FRANKENTHALER: Things that are not overworked, that are in essence light. In 1961, she took part in the American Abstract Expressionists and Imagists exhibition at the Solomon R. Guggenheim Museum of New York. And then one that is clearly a nude [Nude, 1958], I mean anybody who knows pink and breast shape, the feeling of body being seen. It couldn't be --. But that was really the hard core. And we got this little railroad flat two flights up. In addition its striking departure from first-generation Abstract Expressionism, Color Field art is often seen as an important precursor of 1960s Minimalism, with its spare, meditative quality. And Ken was painting sort of traditional abstract rather heavy cuisine easel size pictures. 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. Alongside the 58th Venice Biennale, Palazzo Grimani de Santa Maria Formosa is presenting PITTURA/PANORAMA, an exhibition of works by the American painter Helen Frankenthaler (1928-2011) highlighting the relationship between the evolution of her painting throughout her career and the theme of the panoramic landscape.. And I became very friendly with Grace and Al so it wasn't just Clem. I think a number of reasons. But that does not mean that repetition or experiment isn't in the total picture of growth and development. Inspired by a trip to the American Southwest, the painting captures the colors and forms as well as the climate of the region. MS. ROSE: Um-hm. 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. Because during college I didn't see[Arshile] Gorkys at all. And I think that pace and place differently at different times for each person. She received numerous awards and honors, including the First Prize for Painting at the first Paris Biennial (1959), New York City Mayor's Award of Honor for Arts and Culture (1986), and the National Medal of Arts (2001). That was when I became very friendly with Grace and All and Harry and Friedl and had a real studio life there. I don't like chess or, you know, games competition. And I think you can always see my work, or signature whether I do a painting that's very fair or one that's very poor. As an active painter for nearly six decades, she went through a variety of phases and stylistic shifts. Right now I wouldn't be, but in the 40s at a certain moment, that opened a more fluid period that one might relate to Gorky. And if I wrote stories or, you know, I made cards for anniversaries and birthdays. Did you ever look at [Arthur] Dove? Now I'm gonna run home and make one and show you, don't you love it? MS. ROSE: [Inaudible.]. And Clem that evening convinced him that it would be much more important and would fulfill his role to gather up some of the young painters around and show them. I mean a third, and a third, and a third: a third turpentine, a third linseed oil, a third varnish. So that if it involved her losing face in her social setting then she might deliver a hysterical monologue about how terrible that kind of an education was because somebody might think I was sleeping with somebody, or hated my family, or went with Communists or something like that. He had broken up with his [inaudible]. MS. FRANKENTHALER: Yes. MS. FRANKENTHALER: Well, the luck was that I had him that year, and then in order to get into Bennington I had to wait until the winter term. MS. FRANKENTHALER: The first year I studied with [Vaclav] Vytlacil at the Art Students League [New York, New York]. MS. FRANKENTHALER: No, no. MS. FRANKENTHALER: Like eleven. MS. ROSE: Why did you want the graveyard? She was a severe alcoholic with an alcoholic boy friend. Archive: Helen Frankenthaler Helen Frankenthaler changed the course of American abstractionism with her free-flowing color fields and built "a bridge between Pollock and what was possible," as one visitor to her studio gushed afterward. I think they asked me for drinks. Drips are drips. And I rented it for a year. I mean for every one that I show there are many, many in shreds in garbage cans. But not, we didn't become really bosom pals 'til then. MS. FRANKENTHALER: I'll take you sometime. That, if he pushed an idea about a picture you weren't aware of what he wanted you to think or say or how it the seminar should keep it going. And she knew that while I would graduate at sixteen and that I had no record that would let anybody in their right mind let me go from a failing sophomore to a senior at the age of fifteen she banked on it. I had been doing things like [inaudible]. In other words, say around '50 and '51, it occurred to me that something ugly or muddy could be a color as well as something clear and bright and a nameable, beautiful, known color. MS. FRANKENTHALER: His drips, even though they're on the floor, he wanted the drips. NEW YORK, N.Y..- The Helen Frankenthaler Foundation announced on December 7th that James Merle Thomas has been appointed as its inaugural Deputy Director. And for years I've been saying I'd like to. MS. FRANKENTHALER: Oh, it was marvelous. I think I went to an opening of Tamayo's at Valentine Dudensing's [Gallery, New York, New York], if it was still called that, it might have been just Valentine then. And, you know, there was this show with the deputy mayor to give me the certificate, typical high school, elementary school deal. Masterworks. Photograph by Vincent Dion. MS. FRANKENTHALER: It was much more "go to it" rather than, you know. Whatever, that you use it, and that's how, in a sense, the whole boundaries of art are pushed out. Although the central white shape suggests a butterfly, this print evokes rather than depicts its subject, with a sense of delicacy appropriate for the Japanese heroine of Puccini's tragic opera of the same name. And I knew Bob not personally at all. But he would show how to make an apple look as if it were resting on the table. Anyway, Clem has that picture which I'll show you sometime. So that everything I did I wanted to have original and perfect and get attention and got a response. But, you know, at that time I didn't think that much about it. There was a lot of noise in the background because the game was on. Photograph by Cora Kelley Ward. Her father, Alfred Frankenthaler, was a New York Supreme Court justice. MS. FRANKENTHALER: Well, certainly Piero [della Francesca], Dello [di Niccolo Delli]. Includes bibliographical references (p. 94-95) In 1952, at the age of twenty-three, Helen Frankenthaler created her legendary painting Mountains and Sea. MS. ROSE: What did he teach you? I mean in terms of art? There was a lot else going on that had to do with children and summer drama. I was trying to get at something - I didn't know what until it was manifest." Clem lived on Bank Street. But I had been drawing them with color. It had a two burner stove. MS. FRANKENTHALER: Yeah, well, I have said I did it then, too. Now I was never drawn to the idea of a stick dipped in a huge can. And my parents couldn't get over it. Several years after being honored at the prominent gallery Knoedler & Company in New York with the exhibition Frankenthaler at Eighty: Six Decades, Frankenthaler died in 2011 at her home in Darien, Connecticut. Her name was Carpenter, and some other man. And it developed from there. But when his show was on at Betty Parsons the fall of, I think it was '51, was that it? MS. ROSE: Um-hm. And the period between ten and fourteen I was really a wreck. MS. ROSE: What were you interested in, say, the 50s? ArtNet Magazine / I mean, when I close my eyes you can say, "Well in all mankind, where is the dreamer folding?" MS. FRANKENTHALER: No. I was on my own but within a context of first and second generation New York. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. And in a sense that sharpened my eye for abstract pictures. Citation Information: Helen Frankenthaler and Dorothy Gees Seckler. . After representing the United States in 1966, Helen Frankenthaler returns to Venice May 7, 2019 Rediscovering Helen Frankenthaler through her prints at the Clark July 12, 2017 Celebrating 45 Years of Printmaking with Pace Prints September 11, 2015 Helen Frankenthaler "Composing with Color: Paintings 1962-1963" at Gagosian Gallery September 11, 2014 I mean I have a real sense that the right moment he could be very verbal, clear, and brilliant. Helen Frankenthaler discusses how she developed an approach to painting that transcends the usual scope of Abstract Expressionism. And the sun was going down and the score was something like 23 to 22, 24 to 23. MS. FRANKENTHALER: Through Clem. And it was a whole life. Ran the school for him. Nude, painted the same year in a similar format, is an abstract take on the nude: nothing but a blue rectangle the lines of which could figure a head suggests the presence of a body. I don't want to know. MS. FRANKENTHALER: That's interesting. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. MS. FRANKENTHALER: I. MS. FRANKENTHALER: Bob [Motherwell]. MS. FRANKENTHALER: The New Gallery. And I studied with [Rufino] Tamayo, that was when I --. I mean I know I can draw you just the way you look, or anything else. Indeed, Savage Breeze is far removed from the graphic appearance of the traditional woodblock print, giving the appearance of painted, rather than carved, wood. I don't know if I did Mountains and Sea in the David Hare studio or in the 20th --. And also, he would listen because it would make a, sense. MS. ROSE: You don't think of yourself as a lyrical painter? Her work has been the subject 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. MS. FRANKENTHALER: Yes. I think it would just be, well, for instance, just something to knock off [inaudible]. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. What's your--? "Helen Frankenthaler Artist Overview and Analysis". I was then working in a medium of, and this was brief, I have maybe ten pictures of this, plaster of Paris, enamel house paint, tube pigment, sand, and probably kerosene or something. Acrylic on canvas - Smithsonian American Art Museum. (1928-2011). MS. FRANKENTHALER: Yeah. In 1950, she met and became the partner of the critic Clement Greenberg, and befriended the artists David Smith, Lee Krasner, Jackson Pollock, Willem and Elaine de Kooning, Franz Kline, Adolph Gottlieb, and Barnett Newman. MS. FRANKENTHALER: I don't know. MS. FRANKENTHALER: Yeah. MS. FRANKENTHALER: A lot. I stared at the Quattrocento. Well, I have all the colors and all the tools and all the canvas but I like to - not for the sake of money or retentiveness - but I like to play with the possibilities of the limits I've made for myself. And that spring David Hare, who used to be sort of in and out of the Painter's Club [The Artist's Club], I was looking for a bigger studio because the railroad flat was suddenly too small, he was going to Europe and wanted to rent his studio on 10th Street. And we would really sift [inaudible] every inch of what it was that worked, or if it didn't, why. I can't remember the third one. So they did all the picking in September and October. In a sense it was a truly dialectical way of making a picture. She had gone to music and art and with a year in it [inaudible] she was terribly serious. I want to ask you a question. And they knew I had been in the context of Clem [inaudible] and painted. 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. What was his role in Pollock's life? Their lack of illusionistic space embodied what Greenberg articulated as modernist painting's logical end result: an increasing embrace of medium's intrinsic quality, which for him was the concept of 'flatness,' or the two-dimensionality of the picture plane. MS. FRANKENTHALER: Well, as he described it, we had been to visit the Pollocks in Springs and we were so moved and overcome by Jackson's work and genius and the pictures we'd seen that we vowed and made a sort of mutual promise that we ourselves in homage to his urge would work and be true and produce and transcend. MS. ROSE: Whatever happened to those pictures? I don't think the drawing does and I think that for me any picture that works even if it is in the guise of pure color application, if it works, involved drawing. I had a picture in it. And by that I mean, if you push me further, I don't mean that I could paint something that had split up planes but I understood far beyond that about something black can be up close or can be miles away and the same size and the same density. 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. I might have thought working on the floor is the way to do what I've got to do and keep doing it and I'm going to try it. Just think: Helen Frankenthaler, Carmen Herrera, Judy Pfaff, KiKi Smith, Marion MacPhee, Joan Mir, Rembrandt . But I'm a good swimmer because it's my thing alone in the water. Did it make a difference? MS. FRANKENTHALER: It was more than just the drawing, webbing, weaving, dripping of a stick held in enamel, more than just the rhythm. And we'd go to shows. And I carried this screen over to this place as a divider between Friedl's studio and mine. MS. FRANKENTHALER: Yes, I met him at the show. Upon her graduation in 1949, she studied privately with Australian-born painter Wallace Harrison, and with Hans Hofmann in 1950. A major artist of the abstract expressionist movement, Helen Frankenthaler marked the transition to Colour Field painting. MS. FRANKENTHALER: What came off. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. MS. FRANKENTHALER: Oh, no. Helen Frankenthaler, (born December 12, 1928, New York, New York, U.S.died December 27, 2011, Darien, Connecticut), American Abstract Expressionist painter whose brilliantly coloured canvases were much admired for their lyric qualities. And it happened that it came out stressing color. And Vytlacil was a lousy teacher. And Bob was there, recently separated. And since he was both very clear and very inarticulate and I felt sort of impatient with the style of it I never quite knew if it was that I didn't go for his style or that I had been temporarily sated in that ambience. In the years that followed, Frankenthaler continued using the new method she had developed, drawing on her abiding love of landscape for inspiration. The interaction among the lines and the paint, the use of colour, and the blank, unpainted portion of canvas prompted the following words from Clement Greenberg: Is it finished? Helen Frankenthaler was born in New York in 1928. And it was very exciting then because within one season I saw that '51 show of Jackson's [Pollock] at Betty Parsons, and that was in the early fall. Helen Frankenthaler (1928-2011) was one of the most significant American artists of the twentieth century . And by that time, it was, you know, we were all in each other's studios and everybody was commenting with love and excitement about everybody else's pictures. Or for the world? Jackson would call up every so often in the middle of the night and in a drunken quandary or rage or appeal assume that Clem as an authority figure or friend would be at the end of the line to receive him, and Clem would always say, "You have one hell of a nerve calling me at three a.m. I became, not a connoisseur, but I really learned how to look at a [inaudible] before 1960. MS. FRANKENTHALER: I learned more about the ambience and the seriousness of it. But he and his wife both had taught at Cooper Union [for the Advancement of Science and Art, New York, New York] for years. I mean what did he bring to you? MS. ROSE: Well, what was his relation to Clem? Helen Frankenthaler (1928- 2011) was a painter from New York, N.Y. Many that were in the recent Pollock show. And he said, "Oh, I love Bennington! I'm close to her in that she insists on talking to me on the phone and keeping in touch but it's her insistence and my allowance that sustains it. Whereas blocks have never been drips, and haven't been, but, people don't know blocks the way they know drips. MS. ROSE: Both. An exhibition of seaside-inspired works by the abstract expressionist painter evokes the magic of landscapes and the textures of a temporal experience.. And Clem walked around the show with me. Visit store Contact. MS. FRANKENTHALER: Because I never, I think when there are hundreds of numbers, your own or somebody else's, it's too confusing to refer to them, I mean opus 63 being a number I don't remember. It wasn't even an apartment. But generally it didn't really concern her at all. He was picking a show of new talent for Kootz and he loved the picture and put me in it. I was off on my own. MS. FRANKENTHALER: Yeah. I think I was older. I love Bennington girls. But it's nothing. I never cried, really, by heart. At fifteen, Frankenthaler was sent to the Dalton School in New York and began to study under the Mexican painter Rufino Tamayo. I mean in a severe attack I would just go to pieces. MS. FRANKENTHALER: With Tamayo I did things like Starry Night[Vincent Van Gogh, 1889], reaching for the stars, sort of Picasso, Watermelon Eater [Tamayo, 1949], ultramarine blues and oranges and things. And suddenly I kind of blind-spotted, called aura, which is the beginning of a migraine. The second winter, I only had three because I did it in three years, I went to Boston [Massachusetts] and took a job on the Cambridge Courier which was the newspaper and I was, that was when something called prime newsprint came out, it's still run that way, it's the council of government in Cambridge. MS. FRANKENTHALER: [Laughter.] I'd had all the teaching I wanted because I really was a student at Bennington and I really milked learning and that experience for a lifetime. [Internet]. This canvas is the artist's landmark piece in which she first pioneered her soak-stain process. MS. ROSE: Do you see--? So you will have to milk me so I don't sound self effacing, I think. Initially associated with abstract expressionism because of her focus on forms latent in nature, Frankenthaler is identified with the use of fluid shapes, abstract masses, and lyrical gestures. But it was something I remember that fascinated me so there must be some connection in it. But I have a feeling I really don't want to. Call me in the morning after ten." You could work with a greasy pencil and one of those crumbly erasers on white typewriter paper size mounted sheets through the winter, erasing and re-drawing and making it darker, making it lighter until it moved. Since Motherwell and Frankenthaler had both come from privilege, the two aroused jealousy among other, cash-poor Abstract Expressionist artists and were famously nicknamed "the golden couple.". But it was then that I developed migraine and had them all the time, the kind that just flatten you for two days. 4 Replies. Anyway, it was a disaster, and I was probably in a good breakdown. He had a tremendous appetite and always sent students during their non-resident term to [Hans] Hofmann or Wally Harrison. Which is one of the reasons I think he didn't express and dwell on all his particular talents. He said he was a baseball fan which surprised me very much. But I went there and to the Art Students League. But of course the problem was that it then flaked off if you used quantities of it. Helen Frankenthaler: Un Poco Ms (A Little More), which opened February 12, collects six prints and eight proofs made over five decades of printmaking, including the title print, "Un Poco Ms,". MS. ROSE: Did you see a lot of each other? MS. ROSE: But you're such a great swimmer. [Inaudible] which is a logical step. He loved it. And I said, "That's mine.". And I was embarking on sort of discovering what I was about. So that outside of a mentor like Jackson or people dead in the past --. But the attempt and the result is often from what's around and is available that I can invent with. MS. ROSE: Dal, yes? Art, fashion, lifestyle: Samuel Ross has seen the future and its got his name all over it. And there I met Stamos and, oh, I don't know, somebody Carl Ward. But Ken did study with Clem at Black Mountain. I mean we used to have many, many lunches, dinners --. I had no sustained observation powers because I was so wrapped up in being frustrated. Already [inaudible] Cubism, and you can just take off from there. But it was Kandinsky. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. And when insecure terribly threatened. And I think in a way I was fantastic. MS. ROSE: Gottlieb must have a fantastic eye. And the other was very much more my thing. And was one of the hundreds of people painting in that way. Or one of those large Rubens sketches, where the first breath of feeling is the picture rather than the labor and the gift. Quotes and excerpts must be cited as follows: Oral history interview with Helen Frankenthaler, 1968. MS. FRANKENTHALER: I think the thing that hit me most of all was that while I knew it was a fact, it became a physical necessity to get pictures off the easel, and therefore for me not even on a wall but the reach or fluidity of working from above down into a field. It was a marvelous marriage. MS. ROSE: Well, what kind of qualities did you like? . It was very interesting to me, putting down color and things. But it wasn't just that it was a competitive sport. It was in a private house and that was really in my neighborhood. It wasn't because I was in love with the idea of putting color down. Well, my father being a Supreme Court judge and --. MS. FRANKENTHALER: Well, Jackson was not a very pleasant, giving, easy person to be around. Helen Frankenthaler: Late Works, 1990-2003, the first museum exhibition dedicated to the last phase of the painter's prolific career, features 20 paintings on paper and 10 paintings on canvas. It's like, whatever's around. MS. FRANKENTHALER: Yes. In the 1950s, she travelled to Europe, where she discovered Titian, Velzquez, Matisse, and Monet. Helen Frankenthaler Featured Works Thumbnails Back Autumn Farm, 1959 Oil on unprimed canvas 43 3/4 x 67 inches (111.1 x 170.2 cm) Private Collection Prev Next Biography Exhibitions Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. And I used to dwell on this until it was all I could take. I happened to pick colors fortunately that fit into the push and pull because I drew them that way. But I think what got to my particular sensibility was, aside from learning Cubism, [Wassily] Kandinsky. But I'll only come if there are drinks." And I said I wanted to go to the Castelli Gallery. And I did an enormous Feeley-type picture called Woman on a Horse, you know, the profile three different ways and full face. And his method was to have you work in a Cubist tradition. And just since I was still young, and learning, and energetic, some of them have a Hofmann feel. MS. ROSE: So the first time you actually saw his paintings was at the show at Betty Parsons? Greenberg also prompted Frankenthaler to study under Hans Hofmann in 1950. And I remember [Aristodimos] Kaldis coming out on the porch while I was painting it, I think in 1951, and trying to tell me how to make the picture look as if the piles of the wharf were really in the water. MS. FRANKENTHALER: Well, I went through something around '59, '60 where I was really using --. And he almost died with joy. It was in 1957, the end of 1957, it was painting [inaudible]. And he was a mad Francophile and crazy about Picasso and [Jaques] Lipchitz. But Bill de Kooning and Jackson [Pollock] were all around all the time. * Adults: NOK 130, Students: NOK 60, Bergen Card: NOK 90, Free . And he was encouraging. MS. FRANKENTHALER: Well, by this time I had had Rorschach, and I don't connect my painting with Rorschach at all. Helen Frankenthaler Foundation Archives, New York. And that, also with shapes and stripes, is a beautiful picture." They both might have been stars but Bill was the real star. MS. FRANKENTHALER: Friedl and I were about the only ones. It was all very cheap. I went to visit Gabby at Abington, Virginia, and that was very near Black Mountain, North Carolina. I mean a good-sized easel picture is 18 by 24 or else a corner of it overlapped the next guy. MS. ROSE: Well, what do you want from art? And I would fill the sink with cold water. And until I was, oh, a senior in college there was still that conflict: did I want to do something with writing or reading, or paint. MS. ROSE: Did you know any early American painters at that point? Well, that's what's very difficult about him. Friedl was also living there and I used to go back and forth to London Terrace. No. And I lived there, went to Hofmann, was a, I keep using this word "star" in everything all the time, but I was a favorite pupil of his and he liked me personally very much. And we sat and talked all night long about what life is like in a way that most people would think that profound adolescents might. Ken [Noland] had known Clem and brought Morris [Louis] to Clem and Clem told them about me, introduced us and they saw the Mountains and Sea [1952] picture. MS. FRANKENTHALER: In the early 50s the pictures I remember seeing in shows, for example, might have been Ryan at Parsons, all the Egan [Gallery] guys, all the Parsons [Gallery] people, Janis, Herban, Kootz [Gallery], [Adolph] Gottlieb, Motherwell, [Barnett] Newmann, Vytlacil, David Smith, the shows at Willard [Gallery], always got [inaudible], Tibor [de Nagy Gallery]. The attempt and the score was something I remember seeing was the Surrealist show at house... 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