“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

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work …" by Helen Frankenthaler?
Helen Frankenthaler photo
Helen Frankenthaler 46
American artist 1928–2011

Related quotes

“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 (1928–2011) American artist

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

Max Beckmann photo

“My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), p. 12

“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

“A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.”

Donald Judd (1928–1994) artist

Source: 1960s, "Specific Objects," 1965, p. 76; As quoted in: De gids, Vol. 131, Nr. 1-5, (1968), p. 262

Stella Vine photo

“I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.”

Stella Vine (1969) English artist

Kennedy, Maev. "Will these tragic celebs bring art a new audience?" http://arts.guardian.co.uk/art/news/story/0,,2126195,00.html, "The Guardian" (2007-07-14)

“I begin a painting with a series of mistakes. The painting comes out of the correction of mistakes by feeling. I begin with shapes and colors which are not related internally nor to the external world; I work without images. Ultimate unifications come about through modulations of the surface by innumerable trials and efforts. The final picture is the process arrested at the moment when what I was looking for flashes into view.”

Robert Motherwell (1915–1991) American artist

Cconversation with W.C. Seitz, in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 94
after 1970

“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 (1928–2011) American artist

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

Ellsworth Kelly photo

“When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

1981 - 2008
Source: 'Colour Chart I', interview with Christoph Grunenberg, 1 May 2009; 'Sixty years at full intensity', Tate 2009

El Lissitsky photo

“New space neither needs nor demands pictures - it is not a picture transposed on a surface. This explains the painters' hostility towards us [a. o.: Malevich ]: we are destroying the wall as the resting place for their pictures.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

critical quote of Lissitzky c. 1923, in Proun Space - in An Architecture for World Revolution, El Lissitzky; translation Eric Dluhosch; Lund Humphries, London: 1970, p. 138
1915 - 1925

Brian Clevinger photo

“It occurs to me that I really need a picture of Patrick Stewart as Captain Picard driving Optimus Prime through space. I would follow either of them into the gates of hell without question or hesitation.”

Brian Clevinger (1978) writer

http://www.nuklearpower.com/daily.php?date=060622

Related topics