Frankenthaler Helen 弗蘭肯塔勒·海倫 (1928-2011) Color Field m Post-Painterly Abstraction Americans

Tuen Tony Kwok

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HELEN FRANKENTHALER (1928–2011)
Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. 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. Born in Manhattan, she was influenced by Hans Hofmann, Jackson Pollock’s paintings and by Clement Greenberg. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts. Frankenthaler had a home and studio in Darien, Connecticut.
海倫·弗蘭肯塔勒（Helen Frankenthaler）是美國抽象表現主義畫家。她是戰後美國繪畫史的主要貢獻者。她展出了六十多年的作品（二十世紀五十年代初至二零一一年），跨越了幾代抽像畫家，同時繼續創作重要的，不斷變化的新作品。 Frankenthaler在20世紀50年代初開始在當代的博物館和畫廊展出她的大型抽象表現主義繪畫作品。她被列入由克萊門特·格林伯格（Clement Greenberg）策劃的1964年後期繪畫抽象展（Post-Painterly Abstraction），引入了被稱為色彩領域的新一代抽象繪畫。生於曼哈頓，受到漢斯·霍夫曼，傑克遜·波洛克的繪畫和克萊門特·格林伯格的影響。她的作品一直是幾個回顧展的主題，其中包括紐約市現代藝術博物館1989年的回顧展，自20世紀50年代以來一直在世界各地展出。 2001年，她被授予國家藝術勳章。弗蘭肯塔勒在康涅狄格州達里恩有一個家和工作室。
Helen Frankenthaler, a widely acclaimed member of the New York School and a leading figure of second-generation abstract expressionists, is a prominent American artist. Born in New York in 1928, Frankenthaler attended the Dalton School, where she studied with the Mexican painter Rufino Tamayo. After attending Bennington College in Vermont, she returned to New York to establish herself among the New York avant-garde. In 1950 she met the formalist art critic Clement Greenberg, who proved instrumental in acquainting Frankenthaler with leading figures in the New York art world such as Jackson Pollock and Willem de Kooning. Like them, she was interested in transforming elements of nature into abstract shapes and color.
During the 1950s, Frankenthaler defined her personal style, moving away from abstract expressionism to develop a new technique: pouring thinned pigment onto unprimed canvas. This way of painting, asserting the primacy of color through fusing color and ground, led to a new style in art: color field painting. Frankenthaler’s Mountains and Sea (1952) signified a turning point in the artist’s career as in her large works she began to use this stain technique, pouring turpentine-thinned layers of paint over large unprimed canvases, with effects reminiscent of watercolor. For a number of her contemporaries, primary among them the artists of the Washington color school, soak-staining replaced the thickly painted, gestural strokes of action painting. This pouring technique created abstract fields, or shapes, of color, simplifications of scenes in nature, and achieved a dynamic lyricism that claims the picture space.
Frankenthaler’s stained paintings, based on real or imaginary landscapes, epitomize her art. In 1958 Frankenthaler married painter, Robert Motherwell, from whom she was later divorced. Throughout the 1960s and 1970s she continued to explore the use of large abstract forms and rich color in her canvases; but in this later work, Frankenthaler began to “flood” her canvases with color rather than staining them, a result of the artist’s switch from oil to acrylic paint. She also experimented with other materials, producing steel sculptures, ceramic works, woodcuts, color prints, and illustrated books. In addition to teaching at New York, Harvard, Princeton, and Yale Universities, Frankenthaler has had numerous one-person exhibitions, including retrospectives at the Whitney Museum of American Art in 1969 and the Museum of Modern Art, New York in 1989.
弗蘭肯塔勒·海倫 HELEN FRANKENTHALER（1928-2011）
海倫弗蘭肯塔勒是紐約學院廣受好評的成員，也是第二代抽象表現主義的領軍人物，是美國著名藝術家。 1928年出生於紐約的Frankenthaler出席了Dalton學校，在那裡她與墨西哥畫家Rufino Tamayo一起學習。在佛蒙特州的本寧頓學院就讀後，她回到紐約，成為紐約前衛藝術家之一。 1950年，她遇到了形式主義藝術評論家克萊門特格林伯格，他證明了他有助於弗蘭肯塔勒熟悉紐約藝術界的傑出人物，如傑克遜波洛克和威廉德庫寧。像他們一樣，她有興趣將自然元素轉化為抽象的形狀和顏色。
在20世紀50年代，弗蘭肯塔勒定義了她的個人風格，擺脫了抽象表現主義，開發出一種新技術：將稀薄的色素傾倒在未塗底漆的畫布上。這種繪畫方式，通過融合色彩和地面來確定色彩的首要性，從而形成了一種新的藝術風格：色彩領域的繪畫。弗蘭肯塔勒的“山與海”（1952年）標誌著藝術家生涯的一個轉折點，她開始使用這種染色技術的大型作品，在大型未塗底漆的畫布上註入鬆散稀薄的油漆層，其效果讓人想起水彩畫。對於她的同時代人來說，其中主要是華盛頓色彩學校的藝術家，浸泡染色取代了厚重的繪畫動作筆觸。這種傾倒技術創造了抽象的領域或顏色的形狀，簡化了大自然中的場景，並實現了聲稱圖片空間的動態抒情。
弗蘭肯塔勒根據真實或想像的風景畫的彩繪作品，是她藝術的縮影。 1958年，弗蘭肯塔勒與她後來離婚的畫家羅伯特馬瑟韋爾結婚。在整個60年代和70年代，她繼續探索在她的畫布上使用大型抽象形式和豐富的色彩;但在後來的這部作品中，弗蘭肯塔勒開始用彩色“淹沒”她的油畫，而不是玷污它們，這是藝術家從石油轉變為丙烯酸塗料的結果。她還嘗試過其他材料，生產鋼雕塑，陶瓷作品，木刻，彩色印刷品和插圖書。除了在紐約，哈佛大學，普林斯頓大學和耶魯大學教書外，Frankenthaler還舉辦過多次單人展覽，包括1969年惠特尼美國藝術博物館和1989年紐約現代藝術博物館的回顧展。

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