.jpg?w=1)
拍品專文
Helen Frankenthaler's breakthrough painting, Lunar Table, provided inspiration for many of the artists who would become Color Field painters. Frankenthaler created her masterpiece by dramatically thinning acrylic paint until she could apply it like watercolor and stain the canvas rather than using a brush. Her innovative working methods opened up new possibilities for a generation of artists. Helen Frankenthaler's broad sweeps of color in Lunar Tables reflects her desire to take the style of her abstract expressionist forebears and free it from the egocentric gestures that dominated the work of her male counterparts. Beautifully balanced, the color elements that congregate around the edges as well as the center of the canvas are resolutely abstract, yet succeed in evoking a liberating sense of openness and nature.
Championed by the influential art critic Clement Greenberg in the 1950s and 1960s, Color Field painting developed from the visual aesthetics of Abstract Expressionism, but at the same time rejected many of its principles. By the early 1950s, the artists who followed the lead of gestural painters like de Kooning and Kline were increasingly viewed as derivative and overwrought. Many of the "second generation" Abstract Expressionist painters lacked the authority and imagination of their predecessors and critics began looking elsewhere for new artistic developments.
The same year, Lunar Table, was created, Helen Frankenthaler was regarded as the most important American woman artist of her time. Her major retrospective was organized by Eugene C. Goossen at the Whitney Museum of American Art that traveled through the United States and Europe, and was received very favorably by the critics. Later in the year, Frankenthaler was chosen as the only woman to be represented in Henry Geldzahler's ground-breaking exhibition New York Painting and Sculpture at the Metropolitan Museum of Art, as well as being included in the exhibition Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection at the Museum of Modern Art. Frankenthaler entered the 10970s being lauded as a major figure of contemporary art in America.
Of Frankenthaler's work, John Elderfield writes, "The staining of the paint, however, tends to distance and to disembody the images it creates so that, irrespective of their brightness, they seem strangely to be removed from the sharply practical world of real objects and events. Not as much objects as the shadows and echoes of objects, the images have lonely the most precarious of identities as instruments of depiction. They are continually being returned, as we look at them, to the pigmented wetness from which they were created, whose own, independent beauty holds our attention certainly as much as what they seem to describe... Color beyond ordinary; an unconstructed freedom of composition; an open, breathing surface; absolute candor in its making and in its address to the spectator: all combine to tell of a benign and idyllic, if fragile, domain of innocence and pleasure" (J. Elderfield, Helen Frankenthaler, New York, 1989, p. 11.).
Championed by the influential art critic Clement Greenberg in the 1950s and 1960s, Color Field painting developed from the visual aesthetics of Abstract Expressionism, but at the same time rejected many of its principles. By the early 1950s, the artists who followed the lead of gestural painters like de Kooning and Kline were increasingly viewed as derivative and overwrought. Many of the "second generation" Abstract Expressionist painters lacked the authority and imagination of their predecessors and critics began looking elsewhere for new artistic developments.
The same year, Lunar Table, was created, Helen Frankenthaler was regarded as the most important American woman artist of her time. Her major retrospective was organized by Eugene C. Goossen at the Whitney Museum of American Art that traveled through the United States and Europe, and was received very favorably by the critics. Later in the year, Frankenthaler was chosen as the only woman to be represented in Henry Geldzahler's ground-breaking exhibition New York Painting and Sculpture at the Metropolitan Museum of Art, as well as being included in the exhibition Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection at the Museum of Modern Art. Frankenthaler entered the 10970s being lauded as a major figure of contemporary art in America.
Of Frankenthaler's work, John Elderfield writes, "The staining of the paint, however, tends to distance and to disembody the images it creates so that, irrespective of their brightness, they seem strangely to be removed from the sharply practical world of real objects and events. Not as much objects as the shadows and echoes of objects, the images have lonely the most precarious of identities as instruments of depiction. They are continually being returned, as we look at them, to the pigmented wetness from which they were created, whose own, independent beauty holds our attention certainly as much as what they seem to describe... Color beyond ordinary; an unconstructed freedom of composition; an open, breathing surface; absolute candor in its making and in its address to the spectator: all combine to tell of a benign and idyllic, if fragile, domain of innocence and pleasure" (J. Elderfield, Helen Frankenthaler, New York, 1989, p. 11.).