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Helen FrankenthalerAltitudes /// Abstract Expressionism Helen Frankenthaler Female Post-War Modern1978
1978
About the Item
Artist: Helen Frankenthaler (American, 1928-2011)
Title: "Altitudes"
*Signed, dated, and numbered by Frankenthaler in pencil lower right
Year: 1978
Medium: Original Lithograph on light yellow-pink J.B. Green Hayle Mill Bodleian handmade paper
Limited edition: 29/42
Printer: Bill Goldston and John A. Lund of Universal Limited Art Editions, West Islip, NY
Publisher: Universal Limited Art Editions, West Islip, NY
Reference: "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison No. 72, page 264, 268-270; "ULAE" - Sparks No. 33, page 88, 323; Clark No. 67; Williams No. 67
Sheet size (irregular margins): 22.25" x 30.88"
Condition: Remnants of previous mounting tape on verso. In excellent condition with strong colors
Very rare
Notes:
Provenance: private collection - New York, NY; private collection - notable fashion illustrator Jay Hyde, Crawford, New York, NY; acquired from an art gallery in New York, NY; likely acquired directly from the publisher Universal Limited Art Editions, West Islip, NY. Lithograph drawn with tusche wash. Printed in two colors from two stones: red and green. Universal Limited Art Editions chop mark/blind stamp lower right.
"Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison - "Frankenthaler carefully chose a European handmade paper that would add another color and texture to the print" ... "By contrast, in "Altitudes", the artist created a bleed image so that the sheet of paper is smaller than the stone's image and the large red tusche wash sweeps across the surface of the yellow-pink J.B. Green Hayle Mill Bodleian paper, becoming warmed and enhanced by its color and texture."
"Universal Limited Art Editions - A History and Catalogue: The First Twenty-Five Years" - Sparks - "In "Bronze Smoke" (cat. no. 32), "Altitudes" (cat. no. 33), and "Door" (cat. no. 34), minimal compositions were replaced by fields of drifting, multilayered color, as rich and satisfying as her work on a much grander scale."
Biography:
Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the MOMA in NYC. In 2001, she was awarded the National Medal of Arts.
- Creator:Helen Frankenthaler (1928, American)
- Creation Year:1978
- Dimensions:Height: 22.25 in (56.52 cm)Width: 30.88 in (78.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Saint Augustine, FL
- Reference Number:1stDibs: LU121210580872
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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*Issued unsigned, though signed by Motherwell in the plate (printed signature) center right
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Notes:
Printed in three colors: black, green, and cream. Poster produced for a special exhibition "Sculpture 76" at The Greenwich Arts Council, Greenwich, CT from June - October, 1976. The image featured on this poster is Motherwell's 1972 acrylic painting on paper "Greenwich Sculpture". Artist's copyright lower left and printer's imprint lower right.
GIA Gallery Poster Disclaimer:
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Notes:
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