- Associated Press - Tuesday, December 27, 2011

NEW YORK (AP) — Helen Frankenthaler, an abstract painter known for her bold, lyrical use of color who led a postwar art movement that would later be termed “color field” painting, died Tuesday at her home in Connecticut, her nephew said. She was 83.

One of Ms. Frankenthaler’s most famous works is “Mountains and Sea,” a 1952 painting at the National Gallery of Art in Washington, which she created by pouring thinned paint directly onto raw, unprimed canvas laid on the studio floor.

Her abstract style helped American art make the transition from abstract expressionism to color field painting and influenced such artists as Morris Louis and Kenneth Noland.

She was awarded the National Medal of Arts in 2002. From 1985 to 1992, she served on the National Council on the Arts of the National Endowment for the Arts.

Frankenthaler’s death at her home in Darien, Conn., followed a long illness, said her nephew, Clifford Ross.

Ms. Frankenthaler was born on Dec. 12, 1928, on New York’s Upper East Side and got her bachelor’s degree from Bennington College in Vermont, where she studied with Paul Feely. She studied at Columbia University in New York and took painting classes with Vaclav Vytlacil at the Art Students League and also with Hans Hofmann.

She was only 23 when she created “Mountains and Sea,” building on Jackson Pollock’s technique by poured highly thinned oil paint from coffee cans directly onto the raw canvas. Louis later said “Mountains and Sea” was “the bridge between Pollock and what was possible.”

Her first solo exhibition was presented in 1951 at New York’s Tibor de Nagy Gallery, and she also was included that year in the landmark exhibition “9th Street: Exhibition of Painting and Sculpture.” Ms. Frankenthaler also showed internationally, exhibiting at the International Biennial of Art in Venice in 1966 and in the United States Pavilion at the Expo in Montreal in 1967.

Ms. Frankenthaler went on to develop a highly personal painterly manner within the abstract expressionist movement. She worked in a wide range of media in addition to paintings on canvas and paper, including ceramics, sculpture, woodcuts, tapestry and printmaking.

Ms. Frankenthaler explored a variety of linear components in her oil paintings of the 1950s, but in the 1960s she shifted her focus, embracing acrylic paints to explore open, flat fields of color, evident in the large and glowing 1973 painting “Nature Abhors a Vacuum.”

Ms. Frankenthaler, whose 13-year marriage to the painter Robert Motherwell ended in 1971, is survived by her second husband, Stephen M. DuBrul Jr.

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