10 Facts About Helen Frankenthaler

This technique involves pouring thinned-down paint onto unprimed canvas, allowing the pigments to soak into the fabric, creating vibrant and translucent layers of colour. Frankenthaler's soak-stain technique revolutionised abstract expressionism by introducing a more fluid and spontaneous approach to painting. Her method allowed for a fusion of control and chance, as she manipulated the flow of the paint while embracing the unpredictable nature of its absorption into the canvas.

In 1952, Frankenthaler produced her groundbreaking masterpiece, Mountains and Sea, which marked a significant milestone in her career. Utilising her revolutionary technique, she poured diluted paint directly onto untreated canvas placed on the floor of her studio. Working from various angles, she skillfully crafted large works of translucent hues, resulting in captivating floating fields of colour. The profound impact of Mountains and Sea was immediately felt among artists, particularly those who continue in developing the Color Field movement like Morris Louis and Kenneth Noland.

Frankenthaler, born on December 12, 1928, in New York, was nurtured artistically at the Dalton School under the tutelage of Rufino Tamayo. Having completed her studies at Bennington College, Vermont, in 1949, under the guidance of Paul Feeley, she further honed her skills under the brief mentorship of Hans Hofmann.

Frankenthaler's career was greatly influenced by the legendary Jackson Pollock. His technique, known as drip painting, left a lasting impact on her own approach. She embraced his bold and expressive use of colour, as well as his emphasis on the physical act of painting itself.

In 1958, Frankenthaler embarked on a significant chapter of her personal life by marrying Robert Motherwell, a prominent figure in the Abstract Expressionism movement. Despite a significant age gap of thirteen years, their union became a notable partnership recognised in the art world. Both artists held esteemed positions, contributing to the evolution of Abstract Expressionism. Their marriage lasted for thirteen years, coming to an end in 1971.

Frankenthler’s soak-stained collection has pieces that range upwards of 300 centimetres. By embracing such large-scale canvases, Frankenthaler invited viewers to engage with her art on a deeply sensory level, helping to create an immersive experience for viewers.

In her extensive artistic journey, Frankenthaler maintained a constant spirit of experimentation. Alongside her remarkable achievements in canvas and paper paintings, she also worked with diverse mediums, such as ceramics, sculpture, tapestry, printmaking, and more.

Starting from 1959, Frankenthaler established herself as a frequent participant in significant global art exhibitions. During that same year, she achieved first place in the prestigious Première Biennale of Paris. She helped represent the United States at the 1966 Venice Biennale in 1966, alongside esteemed artists like Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski.

Frankenthaler made her professional exhibition debut in 1950 at the Kootz Gallery in New York, where her painting of the same year, Beach, was chosen by Adolph Gottlieb to be featured in the prestigious exhibition Fifteen Unknowns: Selected by Artists of the Kootz Gallery.

In 2015, Frankenthaler’s work was honoured through Gagosian’s publication of The Heroine Paint: After Frankenthaler. The book was a collection of essays that examined the career and works of Frankenthaler, and was edited by distinguished art historian and curator, Katy Siegel. The comprehensive analysis offers readers a more in depth understanding of the artist’s paintings and its impact on the art scene.