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拍品专文
"A really good picture looks as if it’s happened at once. It’s an immediate image…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
(H. Frankenthaler, B. Rose, Frankenthaler, New York, 1972, p.85)
“There are no rules, that is one thing I say about every medium, every picture ... that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules; that is what invention is about”- Helen Frankenthaler
(H. Frankenthaler, interviewed at Tyler Graphics, Mount Kisco, New York, 11 July 1994, Sound Reel 11, International Prints, Drawings and Illustrated Books Collection, National Gallery of Australia.)
The continuously outstanding aspect of Helen Frankenthaler is her abandonment of restraint in her painterly style, acting as a bridge between the Abstract Expressionists and the Color Field painters. Emerging from the influence of Willem de Kooning and Franz Kline, which is evident in her early work Mountains and Sea, Frankenthaler pushed away from the busy canvas and catapulted herself towards the stripped-down color blocks that heavily accentuate the Color Field movement.
Soldier, one of Frankenthaler’s later paintings, encapsulates this specific ideal, as well as her signature “staining” technique. Frankenthaler was known to thin oil and acrylic paints with turpentine and reduce them down to a consistency resembling water colors. This method allowed her to layer paints without fully covering the previous layer of color, creating an emotional outburst in every spontaneous stroke. In Soldier, she stains the canvas with gray as the first layer, portraying the solid exterior that someone considered a soldier, in any sense, must exude. The next layer is a deep maroon, which is a darker pigment, masking the space in which it covers the gray completely. On top of the maroon is a vibrant orange, which stains the maroon and morphs the color of the canvas wherever it touches. These bright colors amidst the gray evoke the emotion that a soldier endures, despite assumed solemnness. The canvas captures each of Frankenthaler’s trademarks; emotion, spontaneity, and her primary artistic method.
(H. Frankenthaler, B. Rose, Frankenthaler, New York, 1972, p.85)
“There are no rules, that is one thing I say about every medium, every picture ... that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules; that is what invention is about”- Helen Frankenthaler
(H. Frankenthaler, interviewed at Tyler Graphics, Mount Kisco, New York, 11 July 1994, Sound Reel 11, International Prints, Drawings and Illustrated Books Collection, National Gallery of Australia.)
The continuously outstanding aspect of Helen Frankenthaler is her abandonment of restraint in her painterly style, acting as a bridge between the Abstract Expressionists and the Color Field painters. Emerging from the influence of Willem de Kooning and Franz Kline, which is evident in her early work Mountains and Sea, Frankenthaler pushed away from the busy canvas and catapulted herself towards the stripped-down color blocks that heavily accentuate the Color Field movement.
Soldier, one of Frankenthaler’s later paintings, encapsulates this specific ideal, as well as her signature “staining” technique. Frankenthaler was known to thin oil and acrylic paints with turpentine and reduce them down to a consistency resembling water colors. This method allowed her to layer paints without fully covering the previous layer of color, creating an emotional outburst in every spontaneous stroke. In Soldier, she stains the canvas with gray as the first layer, portraying the solid exterior that someone considered a soldier, in any sense, must exude. The next layer is a deep maroon, which is a darker pigment, masking the space in which it covers the gray completely. On top of the maroon is a vibrant orange, which stains the maroon and morphs the color of the canvas wherever it touches. These bright colors amidst the gray evoke the emotion that a soldier endures, despite assumed solemnness. The canvas captures each of Frankenthaler’s trademarks; emotion, spontaneity, and her primary artistic method.