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Helen Frankenthaler (December 12, 1928 – December 27, 2011) was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting.
An important distinction that made color field painting different from abstract expression was the paint handling. The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied. Color field painting sought to rid art of superfluous rhetoric.
[11] The canvas's impact on the color field movement has been compared to the importance of Claude Monet's Impression, Sunrise to the Impressionist movement. [7] Morris Louis, an abstract expressionist painter and a contemporary of Frankenthaler, described the painting as, "a bridge between Pollock and what was possible." [12]
Andrew Nemerov's 'Fierce Poise: Helen Frankenthaler and 1950s New York' charts the rise of an Abstract Expressionist painter knocked for her privilege.
In 1954, art critic Clement Greenberg introduced Morris Louis to painter Helen Frankenthaler, who was working in as a, "proto–color field painter". [3] Her painting, Mountains and Sea (1952) had an impact on Louis and many other painters in Washington, D.C., and they borrowed Frankenthaler's process of staining raw canvas with color.
Post-painterly abstraction is a term created by art critic Clement Greenberg [1] as the title for an exhibit he curated for the Los Angeles County Museum of Art in 1964, which subsequently travelled to the Walker Art Center and the Art Gallery of Toronto.
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