Helen Frankenthaler: Biography, Artistic Movement & Legacy | Dane Fine Art

What is it about abstract art that is so captivating? For many years throughout human history, the primary goal of art seemed to be as realistic as possible, but once cameras came along, abstract expressionism became all the rage.

While luminaries like Picasso, Rothko, and Pollock typically come to mind, women also made their (literal) mark on the movement. Helen Frankenthaler is one such artist, and she’s even more impressive when you consider her career spanned six decades, and never felt tired, worn out, or lifeless.

If Realism is an expression of our eyes, Abstract art is an expression of the soul. So, let’s take a look at Helen Frankenthaler’s soul and how it impacted the industry during her life (and continues after her death).

Biography

Early Life

Helen Frankenthaler was born on December 12th, 1928, in New York City. Her mother emigrated to New York from Germany, likely because of her Jewish ancestry, and her father was a New York State supreme court judge. So, it’s safe to say that Frankenthaler had a relatively privileged life, particularly when compared to other families during the Great Depression.

Frankenthaler also had two older sisters, Marjorie and Gloria. An artistic expression ran in the family, as one of her cousins was the artist and photographer Clifford Ross. Frankenthaler grew up on the Upper East Side until she went to the Dalton School.

Education

The Dalton School is an Ivy Preparatory school located on the Upper East Side of New York City. Frankenthaler attended, graduated, and then went to Bennington College in Vermont. At Dalton, she studied art under the tutelage of Rufino Tamayo, who himself was heavily influenced by abstract trends like Cubism and Fauvism. So, Frankenthaler had her first taste of Abstract Expressionism at a young age, and that exposure would influence her artistic traits throughout her career.

At Bennington College, Frankenthaler studied under Paul Feeley, whose artistic characteristics were remarkably different from Tamayo’s. However, they did overlap with Cubism since Feeley preferred geometric shapes over everything else. If Tamayo ignited Frankenthaler’s fire and passion for abstraction, Feeley helped her develop discipline and control to turn that passion into something that looked respectable, at least by the standards of the day.

Frankenthaler graduated from Bennington in 1949, then studied with artists Wallace Harrison and Hans Hoffman in 1950.

Death

Frankenthaler died on December 27th, 2011, in Darien, Connecticut. She is kept alive by the Helen Frankenthaler Foundation, which she started during her life but didn’t become official until 2013. She also left behind a slew of awards, including the National Medal of Arts from 2001, the First Prize for Painting at the Paris Biennial in 1959, and the New York City Mayor’s Award of Honor for Arts and Culture in 1986.

Unlike other notable artists of the era, Frankenthaler isn’t defined by a specific period or artistic method. Throughout her long and illustrious career, she experimented with different mediums and techniques, putting her creative spin on ceramics, tapestries, prints, and, of course, paintings.

Abstract Expressionism Movement

Frankenthaler’s work caught on almost immediately, and as a fresh college graduate, her pieces were getting snapped up and shown in exhibitions. For example, in 1950, Adolph Gottlieb selected her painting Beach for the exhibition Fifteen Unknowns: Selected by Artists of the Kootz Gallery. A year later, she had her own show at the Tibor de Nagy Gallery in New York.

While her early work was certainly eye-catching, Frankenthaler didn’t really explode onto the art scene until 1952, when her seminal work Mountains and Sea was unveiled. Frankenthaler noted that she took inspiration from Jackson Pollock for this piece, specifically how he would layer paint on a canvas set on the floor rather than an easel.

What was most remarkable about Mountains and Sea is the technique Frankenthaler used, which she called “soak stain.” Instead of putting paint on a treated canvas, she thinned the paint first and let it soak into the material. The result was a vivid layering effect that resembled watercolor but had a much more significant presence. Soak staining would become a viable method of artistic expression, copied by other contemporaries like Morris Louis and Kenneth Noland.

It may seem like we’re just singing the praises of Mountains and Sea, but it was Frankenthaler’s seminal work for another reason — it paved the way for a new type of art movement — Color Field painting. In fact, critics would later remark that it served as the “Rosetta stone for Color Field,” highlighting its influence within the community.

Although Mountains and Sea were a precursor to Color Field, the term wouldn’t be coined until 1960. By that time, Frankenthaler had further cemented her iconic status as an artist, and her pieces were vastly different from the Abstract Expressionism of the 40s and 50s.

Rather than having an emotional, frenetic, or frenzied appearance, Color Field paintings were much simpler and more refined. Frankenthaler and others relied on large canvases, similar color hues, and simple compositions. So, instead of having shapes and lines that were open to interpretation, the emotion behind the piece lay in how the colors made the viewer feel. Deep red conjures many different emotional cues than light blue, which is entirely different from emerald green, and so on.

From the 1960s forward, Frankenthaler would be better described as a Color Field pioneer and luminary as she left her Expressionism past behind in the 50s.

The Legacy of Helen Frankenthaler

Any artist who either experimented with Color Field or dedicated their career to the movement owes something to Helen Frankenthaler. Her pioneering techniques and passion for abstract coloration paved the way for many to follow, and her patented soak stain technique is still used to this day.

It’s unfortunate that Frankenthaler isn’t more widely known outside the art community, but she certainly made her mark throughout her long life and prestigious career. We can take some solace in knowing that she was celebrated while she was alive and not “rediscovered” after her death.

The Helen Frankenthaler Foundation is also doing remarkable work, including the Frankenthaler Climate Initiative, which started in 2021.

Famous Works Of Helen Frankenthaler

Discussing the life and career of Helen Frankenthaler is one thing, but owning a piece of her history is another. Here’s a roundup of some exquisite pieces you can purchase and enjoy at your leisure.

Valentine for Mr. Wonderful

Although this piece is from 1995, it harkens back to Frankenthaler’s more expressionistic past. However, this work is also notable because it actually reflects the title and not just because she wrote it on the painting itself. With a heart symbol, an infinity sign (for undying love), and an XXX marking, this looks like a real valentine with an artistic twist. One of the few times that Frankenthaler’s title was more literal than metaphorical.

Walking Rain

As with the Valentine painting, this piece is also somewhat literal but in a more abstract sense. Although we’re just looking at large brush strokes, they give the feeling of heavy rain, which infuses this piece with a melancholy sentiment. However, as if to show the audience that it’s not all doom and gloom, Frankenthaler provides some levity with what could be a reflection of sunlight on the bottom. Or, the scene could be upside down, further cementing the idea that all rain, no matter how heavy, must pass.

Sudden Snow

At first glance, this piece could be considered something of a Rorschach test. Is it a slightly abstract depiction of snow, possibly covering a frozen waterfall? Or, is the title a purposeful misdirect to make you see something that isn’t really there? How would you feel about this painting if you didn’t know its name? Would it give off wintry vibes, or does it seem like something a bit more exotic and unknown? This is the greatness of Frankenthaler’s work is that it can go both ways, but the final interpretation has left a mystery.

Corot’s Mark

Corot’s Mark is a perfect example of Frankenthaler’s Color Field period, which is fitting because it dates back to 1985–87. Although the piece is literally blue, the brush strokes and slight variations in hues give it more depth and meaning. If you were just staring at a blue square, you might not feel anything. But, under Frankenthaler’s direction, this square contains knowledge of the ages and emotions beyond our comprehension. Its depth is only as shallow or endless as the viewer’s mind.

Day One

This is another example of Color Field painting, but with a slight twist. Yes, it’s a combination of different shades of dark green, but Frankenthaler chose a more reductive method (removing paint) to get these shades. So, instead of layering paint on top of itself, she removed it. This act enhances the piece and makes it seem slightly fragmented and incomplete as if the missing paint is a part of the piece’s soul, lost forever.

If you want to get any of these pieces and find many other rare and limited edition works by Helen Frankenthaler, please view the Helen Frankenthaler collection on or contact us to find a specific abstract artwork you are searching for. We will be happy to make it available for you.

Originally published at https://www.danefineart.com on December 29, 2022.