Frankenthaler, Helen - Expressionismo Abstracto
Playa, 1950
Oil on canvas
86,4 x 81,3 cm
Private collection
Painted on 21st Street, 1950-1951
Oil, sand, plaster of paris and coffee grounds on sized and primed canvas
69 1/8 X 97 in (175.6 X 246.4 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Untitled, 1951
Oil on canvas
143,2 x 214,6 cm
Private collection
Mountains and Sea, 1952
Oil on canvas
7 ft 2 in x 9 ft 9 in
National Gallery of Art, Washington D.C.
Round Trip, 1957
Oil on canvas
178,5 x 178,5 cm
Private collection
Interior, 1957
Oil on canvas
177,8 x 218,4 cm
Private collection
Basque Beach, July 1958
Oil and charcoal on canvas
58 5/8 X 69 5/8 in (148.8 X 176.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Acres, 1959
Oil on unprimed canvas
236,2 x 238,8 cm (93 x 94 inches)
Guggenheim Berlin
April IV, c. 1960
Oil on canvas
35.5cm x 42.4cm
Cleveland Museum of Art, Ohio
Summerscene, Provincetown, 1961
Acrylic on canvas mounted on paperboard
20 x 24 in. (50.9 x 61.0 cm)
Smithsonian American Art Museum, Washington D.C.
Moving Day, 1961
Oil on canvas
68 7/8 X 60 1/8 in (174.8 X 152.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Blue Form in a Scene, 1961
Oil on canvas
95 x 91 1/2 inches (241.3 x 232.4 cm)
Private cxollection
May 26, Backwards, 1961
Color lithograph on paper
31 1/8 x 22 1/2 in (79 x 57.1 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled, 1963
Acrylic on paper
14” x 17”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Buddha's Court, 1964
Acrylic on canvas
98 x 94 inches (248.9 x 238.8 cm)
Private collection
Provincetown, 1964
acrylic on canvas
14 1/2 x 14 1/2 inches (36.8 x 36.8 cm)
Private collection
Small's Paradise, 1964
Acrylic on canvas
100 x 93 5/8 in. (254.0 x 237.7 cm.)
Smithsonian American Art Museum, Washington D.C.
Persian Garden, 1965-1966
Color lithograph on paper
25 7/8 x 20 1/8 in (65.8 x 51.0 cm)
Smithsonian American Art Museum, Washington D.C.
Mauve District, 1966
Synthetic polymer paint on canvas
261.5 x 241.2 cm.
The Museum of Modern Art. New York
Indian Summer, 1967
Acrylic on canvas
93 1/2 X 93 5/8 in (237.5 X 237.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Variation II on Mauve Corner, 1969
Lithograph, 6/21
10 1/8 x 25 1/8”
Mildred Lane Kemper Art Museum, St. Louis, Missouri
Blessing of the Fleet, 1969
Acrylic on canvas
126 x 103 3/8 in. (320.0 x 262.5 cm)
Smithsonian American Art Museum, Washington D.C.
Coral Wedge, 1972
Acrylic paint on canvas
81 1/2 x 46 1/2 inches
Kemper Museum of Contemporary Art, Kansas City, Missouri
Nepenthe, 1972
Color aquatint on paper
15 5/8 x 24 1/4 in. (39.8 x 61.7 cm)
Smithsonian American Art Museum, Washington D.C.
Living Edge, 1973
Acrylic on canvas
117 1/2 x 67 inches (298.5 x 170.2 cm)
Private collection
Untitled, 1973
Acrylic on canvas
20 x 25 1/2 inches (50.8 x 64.8 cm)
Private collection
Robinson's Wrap, 1974
Acrylic on canvas
5' 10" x 7' 10"
Private collection
Desert Pass, 1976
Acrylic on canvas
39 x 54 in (99.1 x 137.2 cm)
Smithsonian American Art Museum, Washington D.C.
Viewpoint II, 1979
Acrylic on canvas
81 1/4 X 94 1/2" (206.38 X 240.03 cm)
Signed, lower right
Butler Institute of American Art, Ohio
Untitled, 1980
Acrylic on paper
22 1/4 x 31 inches (56.5 x 78.7 cm)
Private collection
Cameo, 1980
relief
colour woodcut printed from five woodblocks
grey-pink, wove, handmade, TGL paper
comp 107.0 (h) x 81.6 (w) cm
sheet 107.0 (h) x 81.6 (w) cm
frame 114.0 (h) x 88.6 (w) x 4.2 (d) cm
National Gallery of Australia, Canberra
Untitled, 1982
Acrylic on canvasboard
5 x 7 in. (12.7 x 17.78 cm)
Oklahoma City Museum of Art, Oklahoma
Cedar Hill, 1983
Color woodcut on paper
Sheet: 20 3/8 x 25 1/8 in. (51.7 x 63.9 cm) irregular
Smithsonian American Art Museum, Washington D.C.
Square One, 1985
Acrylic on canvas
78 x 51 inches (198.1 x 129.5 cm)
Private collection
Captain's Watch, 1986
acrylic on canvas
76 3/4 x 58 3/4 in.
Ackland Art Museum at the University of North Carolina
Freefall, 1992
pressed TGL hand-made paper pulp, acrylic gel, and acrylic paint
sheet: 177.8 x 147.3 cm (70 x 58 in) framed: 209.6 x 163.8 cm (82 1/2 x 64 1/2 in)
National Gallery of Art, Washington D.C.
All about blue 1994
planographic, relief
colour lithograph and woodcut printed from six aluminium plates and one woodblock
natural, handmade, triple layer, Kozo fibre paper
comp and sheet 123.0 (h) x 73.2 (w) cm
National Gallery of Australia, Camberra
The Other Side of the Moon, 1995
Acrylic on paper
5'-10½" x 5'-4"
Private collection
Tales of Genji VI, 1998
21-color woodcut on handmade TGL rose paper
47 x 42 in. (119.4 x 106.7 cm)
Smithsonian American Art Museum, Washington D.C.
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Em "The Other Side of the Moon, 1995", um círculo vermelho, possivelmente um símbolo da lua, encontra-se rodeado de uma rede de linhas, seguindo o seu caminho através do papel. O esquema das intensas cores púrpura, azul e verde atribui a esta obra um carácter meditativo. Apesar de ser abstracto na forma, o título deste quadro sugere a representação do mundo natural. Frankenthaler foi casada com o espressionista abstracto Motherwell, mas independentemente da sua proximidade com o movimento, a sua técnica era bastante distinta: aplicava o pigmento sobre a tela ou o papel, evitando a utilização do pincel. O seu método de tingir a tela não esticada com tinta para atingir efeitos imediatos e transparência inspiraram Noland e Louis, aoós uma visita ao seu estúdio. O uso fluido da cor percorre a sua obra e os seus grandes quadros dos anos 60 levam esta ideia até ao limite, ao arrastar pequenas tiras de cor para as extremidades da tela, deixandop o centro vazio. Frankenthaler foi aluna de Tamayo, sendo a sua obra variada mais serena e translúcida que a dos seus contemporâneos. Helen Frankenthaler nasceu em Nova Iorque (EUA) em 1928.
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Helen Frankenthaler was born in New York in 1928 where she was to spend most of her life. She studied at a number of art schools and was taught at one stage by Hofmann. By 1950 she had met many of the main figures of Abstract Expressionism. In 1958 she married the painter Robert Motherwell. Frankenthaler became the first American painter after Jackson Pollock to see the implications of the color staining of raw canvas to create an integration of color and ground in which foreground and background cease to exist. "Mountains and Sea" (1952) Frankenthaler's first "stained painting," marked a turning point in her career. According to the critic, Clement Greenberg, this painting was the 'first monument of Post-Painterly Abstraction,' and it is certainly one of the most important works in the 'Colour-Field' style. In "Mountains and Sea", Frankenthaler poured paint directly onto the unprimed surface of a canvas, allowing the color to soak into its support, rather than painting on top of an already sealed canvas as was customary. This highly intuitive process, known as "stain painting," became the hallmark of her style and enabled her to create color-filled canvases that seemed to float on air. Frankenthaler employs an open composition, frequently building around a free-abstract central image and also stressing the picture edge. The irregular central motifs float within a rectangle, which, in turn, is surrounded by irregular light and dark frames. These frames create the feeling that the center of the painting is opening up in a limited but defined depth. She took from Pollock the notion of fusing drawing and painting, translating this idea into her own suggestive, mysterious calligraphy. In 1960 Frankenthaler made her first prints. Since then, she has worked with a variety of printmaking techniques in addition to painting, using each of these media to explore pictorial space through the interaction of color and line on a particular surface. One of her most successful prints is "Essence Mulberry " (1977) inspired by an exhibit of medieval prints at the Metropolitan Museum of Art. Helen Frankenthaler's art is held in the collection of every major museum of modern art. The stain technique she made famous is still an integral part of her work and it can be seen running through her entire oeuvre. Although the paintings are abstract, a strong suggestion of landscape is often apparent, and they have been praised for their lyrical qualities.
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12:52 AMExímio é o gosto.
Tropecei nisto,
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4:50 PM
Caro Senhor, adorei esse blog. Gostaria de saber se eu poderia por um link de O SÉCULO PRODIGIOSO no meu próprio blog, CADERNOS DE ARTE, em nome do bom gosto e da boa informação. Realmente, foi um século prodigioso nas artes plásticas.
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