Helen Frankenthaler and 1950s New York

I. The Book

Alexander Nemerov (a professor at Stanford University) has written a series of biographical episodes about the art and life of Helen Frankenthaler (1928-2011). Frankenthaler was a second-generation Abstract Expressionist and founder of Colour-field Painting (Post-Painterly Abstraction). Nemerov has taken 11 dates, one per year from 1950 to 1960, to write about. These are entrances into different parts of the artist’s life, situating the chapters around specific events. This works adequately. Nemerov has to be flexible about what to include and how much the significance the day has to the chapter, but the framework is secondary to content.  

The 1950s were a decade in which Frankenthaler achieved an astronomical rise in prominence. When the account begins, Frankenthaler was a young painter, a recent graduate, searching for a unique style and place. She had graduated in 1949 from Bennington College, Vermont. Frankenthaler came from a wealthy upper-class Jewish family from New York. Her father had been a New York State Supreme Court justice. His unexpected death in 1940 left the family of a wife and three young girls grieving but financially secure.  

Frankenthaler participated in the 1951 exhibition at a venue on Ninth Street. Only in retrospect was it seen as ground breaking. Frankenthaler became close to Grace Hartigan, who exhibited in that show. More important for Frankenthaler was her first solo exhibition in November of that year. By that time she had already started an affair with Clement Greenberg. Much her elder, Greenberg was the most influential critic of the era. His backing had not exactly made Pollock the most famous (or notorious) painter in America, but his support had certainly seen both Pollock and Greenberg’s stars rise. Frankenthaler met Pollock and his wife Krasner via Greenberg. By this time, Pollock and Krasner lived on Long Island. Greenberg and Frankenthaler went out to visit them. Frankenthaler took much from Pollock. He was an example of a great and serious painter. His art was exhilarating. She viewed Pollock’s 1950 exhibition at Betty Parsons Gallery, which contained Pollock’s greatest drip paintings, and this transformed her idea of what painting could be.

On 26 October 1952, Frankenthaler painted Mountains and Sea. It was painted on raw canvas and unstretched, as Pollock painted. Frankenthaler diluted her paint so that it soaked and stained, rather than remained where poured. This diffuseness was radical. It was lyrical and sensuous. It was different from gestural painting of Pollock and the tight, impermeable surfaces of Malevich and Mondrian. This is seen as the starting point for the Colour-field Painting. Friedel Dzubas, Kenneth Noland, Morris Louis, Jules Olitski and others were excited by the painting as saw potential in that art. Others would soon follow. For the first time in history, two occurrences had taken place: a woman had founded a major art movement and a style had been established on a single identifiable day.

On 27 July 1953, Frankenthaler visited the Prado, seeking cultural release from domestic frustrations. Her encounter with Tintoretto and painters of the Spanish Golden Age led her to tackle larger canvases, referring back to art history. On 12 August 1956, Frankenthaler was in Paris with Krasner when the news reached them that Pollock had been killed in a car crash. Frankenthaler did her best to comfort Krasner as she made funeral and travel arrangements by telephone. Following Pollock’s lengthy deterioration into a violent angry drunk, his death ended up freeing both Krasner and Frankenthaler. As Nemerov puts it, “Whatever personal feelings it occasioned, Pollock’s death was also a release. That fall Helen’s paintings became freer, more improvisational, more brazenly indifferent to protocols of “finish.” Some new joy came with the master’s demise; some liberation, inseperable from the pall, fueled her work.”

On 1 August 1958 Frankenthaler and Motherwell were on their honeymoon in Spain and visited the caves of Altamira.  On 16 July they had visited the caves of Lascaux. This was Frankenthaler’s second pilgrimage to the Altamira caves. That had been with a crowd. This time, she and her husband were alone, having bribed the keeper to allow them in during the lunch break. Viewing the paintings by candlelight, surrounded by darkness and silence, the couple wondered at the paintings of bison, horses and deer that had once inhabited ancient Spain. For two painters strongly committed to the primal power of painting and dedicated to paint as a medium, it was a profound experience. Both later made reference to the experience in statements and art.

The year 1959 was a stressful one for Frankenthaler and Motherwell. They took custody of Motherwell’s two young children from his ex-wife, due to her break down. Frankenthaler was at first anxious and disconcerted by the responsibilities of being a stepmother. However, the couple adjusted, had enough money for a nanny and the children grew to trust and like Frankenthaler. It was a bittersweet moment when the girls returned to their mother two years later. Frankenthaler would have no children of her own. Frankenthaler’s 1960 exhibition at the Jewish Museum, New York, brought a curtain down on the 1950s and her youth. By this time, Pop, Happenings and Conceptual art was in the wings. Politics would drive a wedge between the student artists and the grand Abstract Expressionists. Over barely two decades, Abstract Expressionism would rise, freeze and fade, its practitioners turned into bankable Old Masters in late middle age.    

The book is a brisk read, written in a direct style but informed by a solid grounding in 1950s American culture and the New York School. Nemerov’s familiarity with the biography and art of his subject (and of others in her milieu) is evident. The thorough footnotes will help students and scholars track down sources; the illustrations – colour images of art, photographs of the artist at work and socialising – fill out the narrative. This book will be welcomed by fans of the painter and anyone interested in the New York School.

II. Frankenthaler as “a woman artist”

Discussions about Frankenthaler and the circumstances of women artists is complex. She was a talented painter who made original art – started a new school of painting – and was acclaimed by her peers. On that level, she is a success story, a self-actualised woman artist in a time when there were few top-level female artists. Yet her close connections to critic Clement Greenberg, artist Robert Motherwell and curator Bryan Robertson leave open the inference that her prominence was assisted by these men. If we examine interpretations of Krasner’s career, we find authors and associates suggesting Krasner’s marriage to Pollock impeded her during his lifetime (making her a supernumerary, causing people to view her art as relational to Pollock’s, reducing her productivity) and assisted her after his lifetime (proceeds from the Pollock estate making her financially secure, dealers interested in Pollock’s art treating Krasner’s art favourably in order to win access to his art). Yet Frankenthaler was already part of the New York Abstract Expressionist scene before her relationship with Greenberg. She was already exhibiting and selling art before the affair started. Greenberg may have increased the attention given her art before 1953 (the year Mountains and Sea was first exhibited), but it was in that year that Frankenthaler earned her reputation and had artist followers. It is difficult to see how her romantic connections translated into measurable career advantages, certainly after 1953.

It seems inevitable that an artist as original and driven as Frankenthaler would have broken through in the way she did, even without the encouragement of influential male partners. Greenberg was not a great champion of women artists as a whole. It is possible that the main boost he provided to Frankenthaler was forming a strong social bond with Pollock and Krasner and thereby allowing Frankenthaler to see their art first hand and discuss techniques, material and ideas with two of the most advanced artists in the scene. She admitted that seeing Pollock’s art was a seminal experience for her as a fellow painter. In that sense, Greenberg’s assistance was to help her develop her art, not to advantage her public career.

Frankenthaler’s signature style of staining was seen by some critics and artists as distinctly feminine. The style tended to conform to assumptions about womanly delicacy, as did the lack of evidence of raw physical energy or cultivated athletic dexterity, as found in the art of Pollock and Kline. The paintings contained blooming optical sensations and enveloping expanses rather than staccato brushwork or whipped drips. There were the inferences of woman as producer of fluids, passive, unfirm, labile, unpredictable, unfocused, avatar of untrammelled nature. Such talk betrayed the assumptions of the commentator more than it identified any trait in the painter. Woman as dyer of cloth, maker of decoration and laundress were the cultural shadows flickering through the minds of some in the 1950s and 1960s who saw photographs of Frankenthaler. These same viewers had seen Hans Namuth’s famous photographs of Pollock at work, the comparisons were somewhere between boxer and farmer; Pollock was described as a cowboy spinning lariats of paint instead of a lasso.

Frankenthaler’s art was well regarded – especially by the art cognoscenti of Manhattan, Long Island and Provincetown – possibly in part because it was seen as a (incidentally feminine) variant of an existing (incidentally largely masculine) discipline. It was an offshoot or evolution. In stylistic terms, this is correct. Colour-field Painting was developed by Abstract Expressionist painters, in their search to expand their formal range and technical capacities. The inference that it was secondary and subsequent, was one that artists and critics at the time were aware of and it did frame discussions. It is ironic that the first style inescapably founded by a female artist was one that was considered primarily as a development or continuation of a pre-existing school of painting. Even as a leader, Frankenthaler was seen at a secondary rank, as the head of a group which was behind a vanguard. This is a touch unfair whilst being accurate. Frankenthaler was a second-generation Abstract Expressionist and Colour-field Painting did develop from that existing movement.      

This book does present a good overview of how Frankenthaler’s art was received by contemporaries, though the author is limited by his biographical focus. This book is a suitable entry point for those wishing to investigate this subject in more depth.

Alexander Nemerov, Fierce Poise: Helen Frankenthaler and 1950s New York, Penguin Press, 2021, hardback, 269pp + xviii, illus., $28, ISBN 978 0 525 56018 0

© 2021 Alexander Adams

To see my art and books visit www.alexanderadams.art

Robert Motherwell: Open

 

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[Image: Robert Motherwell: Open, installation view (Dover Beach no. III (1974) on left), courtesy Galerie Templon, Paris & Brussels. Photo: B.Huet/Tutti]

 

A new exhibition in Paris showcases some striking examples of Abstract Expressionism by Robert Motherwell.

Robert Motherwell (1915-1991) was one of leading figures in the first generation of Abstract Expressionism. He was something of an organiser and a committed teacher, helping to explain abstraction and spread its practice among American artists. He was a writer and editor and his facility with words was sometimes held against him. Barnett Newman and Mark Rothko were revered as the high priests (or rabbis) of the New York School but Motherwell was viewed as a professor – a bit earnest, a little dry. This is a little unfair because he was a talented painter and influenced many younger artists with his art.

Over a very productive career, Motherwell produced thousands of paintings, drawings and collages. He was the leading collagist of the New York School, combining scraps of printed paper, book pages, postage stamps and labels, with added dashes of paint and charcoal lines. Many of his collages reflect his love of French culture, particularly literature. His art is distinguished by its elegance, poise and brevity.

Much of Motherwell’s later work relies on the impact of large expanses of single colours, coming close to Colour-Field painting. Colour-Field painting is based on the effect of intense colour and large shapes, frequently using staining and avoiding prominent brushwork and gesture, as seen in Abstract Expressionism, which immediately preceded the Colour-Field movement. For a period, Motherwell was married to Helen Frankenthaler, who developed Colour-Field painting in collaboration with Jules Olitski and Kenneth Noland. The influence of Matisse’s single-colour ground paintings (such as The Red Studio (1911)) is also apparent in Motherwell’s later work.

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[Image: Robert Motherwell: Open, installation view, courtesy Galerie Templon, Paris & Brussels. Photo: B.Huet/Tutti]

 

Robert Motherwell: Open, Galerie Templon, Paris (17 May-21 July 2018) gathers some Motherwell’s paintings from the Open series. These are some of his best paintings. Indeed, the array in the day-lit main gallery, which presents the large paintings, is as good as the centrepiece of a museum retrospective. The exhibition presents a very persuasive case for Motherwell as powerful and original painter.

The brushed bronze-gold hue of Untitled (1974) has a near metallic quality. Dover Beach no. III (1974) has more activity, with scribbled brushmarks imparting greater contrast and complexity. The dark blue swatch in the right side implies sky, turning the rectilinear motif into a closed window in a wall next to sky. There has been debate over how literally the Open series should be interpreted, with some seeing the drawn forms as apertures such as windows or doors, others claiming these are purely abstract designs. The Mexican Window (1974) is more concretely figural, with the open window and shutters distilled to a graphic summary.

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[Image: Robert Motherwell, The Mexican Window (1974), acrylic and charcoal on canvas, 194.3 x 243.8 cm, courtesy Galerie Templon, Paris & Brussels. Photo: B.Huet/Tutti]

 

The shutters cast narrow bands of shadow on the wall below. We feel the heat and glare of midday sunlight on a house wall. There is a West Coast ambience to many of the larger paintings, not dissimilar to Diebenkorn’s Ocean Park series. However, Motherwell’s Open paintings are much more successful than the Ocean Park series, having a great deal more energetic, rich colour and satisfying surfaces. The Ocean Park paintings have an unpleasant dry, drab surface and an insubstantial feeling.

The wet painterly washes of the thinned acrylic paint give the impression of the minor imperfections found in ordinarily painted stucco. The size of these paintings (frequently at or exceeding two metres in dimensions) reinforces the mural character of subjects. In a way, the Open series is itself a sequence of detached murals. In this respect they are curiously mimetic: painted sections of walls have been treated as detached sections of wall.

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[Image: Robert Motherwell, California Window (1975), acrylic and charcoal on canvas, 182.9 x 213.4 cm, courtesy Galerie Templon, Paris & Brussels. Photo: B.Huet/Tutti]

 

The acrylic paint has held up well over the years and shows no sign of deterioration. One reason the paintings are in good condition is the fact they belong to the estate of the artist and have been carefully conserved. All of the 17 paintings in the exhibition come from the Motherwell Estate and all are for sale. The prices are reasonable considering the quality and importance of these paintings.

Critics have noted the lifting/ascending character of the uneven, open-topped forms placed high on the picture plane in this series. These paintings have a surprising amount of energy considering the limited range of expression. There is plenty to see, probably because of the subtle qualities of the energetic surfaces and how they change according to the light. For such simple paintings, they are actually lively.

There are a number of weak paintings. The black painting with a scraped curving outline is slight and unsatisfying. It lacks the substance of painted or drawn lines. Black Open (1973) and Royal Dirge (1972) are both predominantly black and both unsatisfying. Motherwell has a problem animating black and it shows how his art works when it is at its best – through complementing graphic elements with washed rich colour. In the black paintings half of that equation is missing. However, these weaker paintings serve to demonstrate how the series work in general by proving the rule.

In Great Wall of China no. 4 (1971) the yellow top coat covers darker forms in watery obscuration. In this piece we are made aware of a lost earlier state – something of a rarity in Motherwell’s work. Revision – certainly radical revision – is almost entirely absent from Motherwell’s late paintings and the Open pieces are only lightly worked. If anything, Motherwell is open to the criticism of being facile. On the whole, these paintings are very bold, confident and well-judged. Some of the smaller paintings risk the charge of being slight, but Open Study in Charcoal on Grey #1 (1974) has heft, despite its small size. Untitled (Red Open) (c. 1974) is a fine painting, rich in colour and satisfying in design.

This is a superb exhibition of one of abstract art’s best painters. Strongly recommended.

Galerie Templon, 30 rue Beaubourg, Paris 75003, https://www.templon.com/

© 2018 Alexander Adams