Helen Frankenthaler: Work

Helen Frankenthaler was American artist. Explore interesting quotes on work.

Helen Frankenthaler: 92 quotes2 likes

“I think that for me any picture that works even if it is in the guise of pure color application, if it works, involved drawing. That is falt space on a flat surface. And for me, and I always say this, whether it's a Titian or a [Kenneth] Noland, the ones that come off work in that depth and the color perhaps it is divine and the thing that makes it work, but it is line color. If it doesn't work then it's decorative or dead or just applied colors on a surface. That's what wallpaper is. And that's the difference between the striped wallpaper and a great Noland.”

Helen Frankenthaler

quote about drawing in a picture
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“.. I think the thing that hit me most of all [at the Pollock-show, 1951] was that while I knew it was a fact, it became a physical necessity to get pictures off the easel, and therefore for me not even on a wall but the reach or fluidity of working from above down into a field [so: on the floor].... But it really registered [later] when I saw his [Pollock's] studio and he unrolled his paintings on the floor that he had painted them on. Now I was never drawn to the idea of a stick dipped in a huge can. One thing I have never liked is a drip, I mean.. it's a kind of boring accident to me, a drip. There are many accidents that are very rich that you use, but if you exploit a drip it's very boring and familiar to begin with. Drips are drips. Whereas blocks have never been drips, and haven't been, but, people don't know blocks the way they know drips. And blocks can become lines, and drips become lines in a very facile, easy way.”

Helen Frankenthaler

quote about Pollock's drip-painting, 1951
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“Color doesn't work unless it works in space. Color alone is just decoration - you might as well be making a shower curtain.”

Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“I really learned how to look at art.... before 1960. And in a sense that sharpened my eye for abstract pictures. Because, it's light in the painting that makes it work. It's light in the painting that makes it work.”

Helen Frankenthaler

quote about the role of light
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“I mixed [early 1950's] funny shades of colors and used them but I used them because they made the drawing in my picture move. It wasn't because I was in love with the idea of putting color down. But these colors were the expedient things to use for the way I drew and I say 'draw' not meaning line, though it might have included line. But the way I drew or envisioned or made my work. And it happened that it came out stressing color. But I did not have a vision or a notion about color per se being the thing that would make me or my pictures work or operate.”

Helen Frankenthaler

quote about shades and drawing
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?”

Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.”

Helen Frankenthaler

Quote by Barbara Rose, in Frankenthaler (New York: Harry N. Abrams, Inc. 1975, p. 85
1970s - 1980s

“After the first day there [In 1961, at the invitation of Tatyana Grosman, Frankenthaler ventured out to Universal Limited Art Editions (ULAE), Grosman's Long Island printmaking studio, and began making lithographs for the first time] I felt no hesitation. I was very committed. All I had to do was start work on that print. It was a whole new road - and a very connected road.”

Helen Frankenthaler

Quote from Artists and Prints: Masterworks from The Museum of Modern Art, New York, Deborah Wye; The Museum of Modern Art, 2004, p. 146 http://www.moma.org/collection/object.php?object_id=69050 <br class="br">1990s - 2000s

“I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..”

Helen Frankenthaler

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 37

“I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..”

Helen Frankenthaler

quote about influence of Pollock
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“The picture developed – bit by bit while I was working on it – into shapes symbolic of an exuberant figure and ladder…. therefore: 'Jacob's Ladder' [= the title of the painting she made in 1966].”

Helen Frankenthaler

Quote on the birth of a title of her art-work 'Jacob's Ladder'; from: MoMA Highlights, New York, The Museum of Modern Art, revised 2004, originally published in 1999, p. 219 http://www.moma.org/collection/object.php?object_id=78722 <br class="br">1990s - 2000s

“I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.”

Helen Frankenthaler

Quote from Abstract Expressionism, Barbara Hess, Taschen Köln, 2006, p. 15
1990s - 2000s

“So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.”

Helen Frankenthaler

quote about her Bennington-years 1945-48
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“Sometimes I wish I had more people to relate to and refer to and talk to, but there are very few artists whose work I want to see. It all makes for a kind of loneliness.”

Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989