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Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field .
His paintings straddled both camps within the abstract expressionist rubric, action painting and color field painting. Having seen Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952.
Mountains and Sea is a 1952 painting by American abstract expressionist painter Helen Frankenthaler. [2] [3] Painted when Frankenthaler was 23 years old, it was her first professionally exhibited work. [4] Though initially panned by critics, Mountains and Sea later became her most influential and best known canvas. [5] [6]
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.
Andrew Nemerov's 'Fierce Poise: Helen Frankenthaler and 1950s New York' charts the rise of an Abstract Expressionist painter knocked for her privilege.
As painting continued to move in different directions, initially away from abstract expressionism, the term "post-painterly abstraction", was used for works alongside minimalism, hard-edge painting, lyrical abstraction, and color field painting. [4]
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