See studies by E. A. Carmean (1989) and J. Elderfield (1989).
(born Dec. 12, 1928, New York, N.Y., U.S.) U.S. painter. She studied with Rufino Tamayo in high school and at Bennington College, then returned to her native New York City and joined the “second generation” of Abstract Expressionists. Influenced by Jackson Pollock and Arshile Gorky, she developed a style featuring abstract colour combinations within large expanses of bare canvas. She perfected the technique of colour staining, producing diaphanous colour by thinning the oils and letting them soak into the unprimed canvas. In the 1960s she began to use acrylic paints. Though abstract, many of her paintings (e.g., Ocean Desert, 1975) evoke landscapes and are noted for their lyricism. Her work influenced the colour-field painters Morris Louis and Kenneth Noland. She was married to Robert Motherwell from 1958 to 1971.
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Helen Frankenthaler (born December 12, 1928) is an American post-painterly abstraction artist. Born in New York City, she was influenced by Jackson Pollock's paintings and by Clement Greenberg. She was the youngest daughter of a justice on the New York State Supreme Court. She studied at the Dalton School under Rufino Tamayo and also at Bennington College in Vermont. She later married fellow artist Robert Motherwell.
The first Jackson Pollock show Frankenthaler saw was at the Betty Parson's Gallery in 1951. She had this to say about seeing Pollock's paintings Autumn Rhythm, Number 30, 1950 (1950), Number One (1950), and Lavender Mist:
"It was all there. I wanted to live in this land. I had to live there, and master the language."
In 1960 the term Color Field painting was used to describe the work of Frankenthaler. This style was characterized by large areas of a more or less flat single color. The Color Field artists set themselves apart from the Abstract Expressionists because they eliminated the emotional, mythic or the religious content and the highly personal and gestural and painterly application.
Some of her thoughts on painting:
"A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." (In Barbara Rose, Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85)