By Alison Rowley
This amazing exam of the paintings of 'colour field' painter Helen Frankenthaler overturns assumptions in regards to the artist, whose paintings has been confused via its label as 'the bridge among Pollock and what used to be possible'. expert as a painter, Alison Rowley brings a prepared eye to Frankenthaler's work, returning to the fore the artist's debt not just to Jackson Pollock but in addition to Cezanne, and speculating for the 1st time as to her creative responses to wider political occasions, particularly the Rosenberg trial. creating a interesting case, too, for the connections among the 'breakthrough' paintings "Mountains and Sea" and Lily Briscoe's portray in Virginia Woolf's novel "To the Lighthouse", this superbly written publication presents the most important new insights into Frankenthaler's perform, as a painter who's additionally a girl.
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Additional resources for Helen Frankenthaler: Painting History, Writing Painting (New Encounters: Arts, Cultures, Concepts)
Example text
Most Cézanne-like is the way the work organises itself spatially in an un-tethered relationship between painted and unpainted areas of canvas quite unlike Pollock’s 1951 works in which the relationship between the ‘black’ and ‘white’ areas is one of either/or reversibility and mutual dependence: one defines itself against the other. The unpainted areas read either as solid figures, as in Number 14, 1951 (fig. 54 In general the tendency in the ‘black and white’ works is to bind or shape the white areas (whether they read as figure or spacious ground) with the black lines, which often accumulate to form dense patches.
In the physical absence of Mrs Ramsay in the second half of the novel Lily is quite literally left with only hedges and houses amongst which to grope for her ‘something’ in paint. But what is this ‘something’? What, in more precise terms, is the nature of the thing Lily struggles for? What does Woolf understand as the subject matter of the painting, and what bearing does her exposure to the work of Cézanne have on that understanding? At the moment Lily Briscoe picks up her brush to begin the painting, Woolf introduces an image followed immediately by an idea.
In this respect Mountains and Sea represented a profound example of the value of looking again at Cézanne as Greenberg had been advocating in ‘Cézanne and The Unity of Modern Art’, and ‘Cézanne: Gateway to Contemporary Painting’. Or perhaps the initiative was as much Frankenthaler’s? It is not difficult to make a case to suggest that for the sections of close technical analysis of Cézanne’s work, particularly in the 1951 essay, Greenberg drew on Frankenthaler’s practical training and knowledge as a painter, and a visual Revised_layout_Alison_Rowley:Layout 1 16/8/07 10:56 MOUNTAINS AND SEA Page 21 21 education more thorough than his own.