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Helen FrankenthalerBook: Works on Paper 1949-1984 (Hand signed & inscribed by Helen Frankenthaler)1986
1986
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Helen Frankenthaler
Frankenthaler, Works on Paper 1949-1984 (Hand signed and inscribed to Dick Polich, Founder of Tallix Foundry), 1986
Softcover monograph (book), hand signed and dated by Helen Frankenthaler and warmly inscribed to Dick Polich
The inscription reads, “For Dick and Tony, and hopefully more trips to the new Tallix. Sincerely, Helen Frankenthaler June ’86.”
Tallix is the famous foundry where every major sculptor in America would cast their works. They also did some interesting 3D projects with painters like Helen Frankenthaler as well. Dick Polich ran the foundry.
10 × 9 × 2 inches
Published by George Braziller in collaboration with the International Exhibitions Foundation
Signed, dated and warmly inscribed by Helen Frankenthaler to Dick Polich (founder of the famed Tallix Fine Art Foundry) and his partner
This vintage softcover monograph on Helen Frankenthaler's works on paper, written by art historian Karen Wilkin, is warmly inscribed on the title page by the artist to Dick Polich, the Founder of the legendary Tallix Art Foundry and Polich Art Works, in which Helen mentions her desire to continue to do work with Tallix. The provenance is impeccable as it was acquired from the collection of Dick Polich.
- Creator:Helen Frankenthaler (1928, American)
- Creation Year:1986
- Dimensions:Height: 10 in (25.4 cm)Width: 9 in (22.86 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Good vintage condition; shelf wear and age wear to the outer covers but the interior pages are clean and crisp and the signature page with inscription is excellent.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745210971262
Helen Frankenthaler
Prolific and pioneering painter Helen Frankenthaler said it was “a combination of impatience, laziness and innovation” that drove her to thin her paints with turpentine so that they would seep into the fabric of an unprimed canvas. Her breakthrough in the early 1950s led the way for a spellbinding new style of painting that would come to be known as Color Field.
Although Color Field is often considered a strain of Abstract Expressionism, Frankenthaler’s work differed from the gestural “Action Painting” that typified the paintings of artists like Willem de Kooning and Lee Krasner. Her vast and immersive expanses of color created at a fearless scale captivated art critics and greatly influenced her peers including Morris Louis and Kenneth Noland.
Frankenthaler knew from an early age that she wanted to be a painter. The youngest daughter of a New York State Supreme Court justice, she grew up on Manhattan’s Park Avenue and as a child delighted in the little ways color and form revealed themselves, whether dribbling red nail polish in a sink full of water or drawing her steps from the Metropolitan Museum of Art to her family’s apartment. As a student at Bennington College, her rare vision was enriched by the mentorship of painter Paul Feeley, who gave her lessons in Cubism. After dabbling in art history at Columbia University, she rented a studio downtown and befriended rising New York art stars like Jackson Pollock and Robert Motherwell, whom she later married.
Characterized by “direct, exuberant gestures,” the Abstract Expressionist technique was all about gusto, and Frankenthaler had it in spades. One of the few women of this era to garner widespread critical acclaim, Frankenthaler had a significant impact on the mid-20th-century art world. She exhibited in the high-profile 1951 Ninth Street Show and, in 1957, she appeared in a Life magazine spread on women artists photographed by Gordon Parks. In 1960, the Jewish Museum held her first major museum show, a retrospective of her 1950s work. A 1969 solo exhibition at the Whitney Museum of American Art further introduced Frankenthaler to the broader art world.
While Frankenthaler remains best known for bold, expressive “soak-stain” paintings such as Mountains and Sea (1952), she worked across diverse media for decades, with forays into woodcutting, drawing and printmaking that also pushed boundaries. She also taught at Harvard, Yale and Princeton, fostering generations of artists. She died in 2011.
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