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HELEN

FRANKENTHALER

COLOR AND MOOD

Frankenthaler spent a lifetime pushing culture forward on several fronts. She was an integral figure in the New York School movement stitching together a circle of prominent critics, second generation abstract expressionists, poets, musicians, and thought leaders that gave breath and meaning to the most exciting creative work of the day. Later, she would lead through her philanthropy and foundation work, which continues on even after her death in 2011. Yet even compared to this lasting public good, and the earlier entertaining and social architecting she and her partner of five years, Clement Greenberg, were renowned for, Frankenthaler’s painting and printmaking made the greater impact. Through her singular approach, she imbued the surprisingly stayed Color Field movement with gesture, spontaneity, and an essence of the moment that helped to fracture the increasing strictures of abstraction, and bring about the freedom of form and approach artists enjoy today.

  • Helen Frankenthaler | Skywriting

HELEN FRANKENTHALER
Skywriting, 1997
Screenprint in colors
30 x 40 inches
Edition of 110
POR

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HELEN FRANKENTHALER
All About Blue, 1994
Lithograph
48 x 28 3/4 inches
Edition of 38
SOLD

Within her oeuvre, a viewer finds work ranging from subtly layered planes of color that rival Rothko in their restrained serenity and depth, to markedly unrestrained compositions of inky blooms and slashes of paint that emanate from the surface with the warmth and life of spring. That influence of nature on her practice is one of the defining features of a Frankenthaler, and something often prized by her collectors — the ineffable essence and beauty of the natural world impossibly embodied by a pure abstraction. It’s no wonder we at the gallery can’t stop thinking of her this time of year. We are reminded of her art in each opening bud and every golden hour.

HELEN FRANKENTHALER
Southern Exposure, 2005
Screenprint in colors on wove paper
30 1/2 x 37 1/8 inches
Edition of 128
SOLD

In many ways, printmaking is a more natural home to Frankenthaler’s vision than works on canvas, a medium she grappled with to produce the thin, turpentine-soaked washes and stains she yearned for. In doing so, she often created beautiful but unstable paintings which continue to give headaches to the most talented conservators tasked with preserving them. In printmaking however, the medium lends itself to direct, thin, layered application to a rich and varied (and archival) surface — a perfect fit for Frankenthaler’s compositions. Furthermore, techniques like lithography and aquatint allow for an elimination of the hand of the artist when desired, increasing Frankenthaler’s ability to create works that seize all of the genius of abstract expression while discarding the machismo and narcissism inherent in so many of her peers’ work, or, put in her own words, printmaking allowed her to make images that look as though they “happened all at once.”

It is then, with great pleasure that we offer a grouping of Frankenthaler’s prints – a form so important to an artist’s practice who was, in turn, so important to the arch of art history and the shape of painting and printmaking today. Please inquire directly or email us at gallery@hamiltonselway.com. 

  • Helen Frankenthaler | Spring Veil | 1987

HELEN FRANKENTHALER
Spring Veil, 1987
Aquatint and drypoint in light and dark green, on Fabriano paper
17 1/4 x 25 5/8 inches
Edition of 51
POR

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HELEN FRANKENTHALER
Soho Dreams, 1987
Color etching, aquatint, drypoint
15 3/4 x 18 3/4 inches
Edition of 71
POR

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  • Helen Frankenthaler | SOHO Dreams | 1987
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HELEN FRANKENTHALER
Grey Fireworks, 2000
Screenprint in colors on wove paper
28 x 46 inches
Edition of 108
POR

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“There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.”

– Helen Frankenthaler

  • Helen Frankenthaler | Mary, Mary | 1990

HELEN FRANKENTHALER
Mary, Mary, 1990
Lithograph and screenprint
42 1/8 x 32 1/6 inches
Edition of 72
POR

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HELEN FRANKENTHALER
Tiger’s Eye, 1987
Aquatint, lithograph, etching and screenprint in colors
18 3/4 x 22 1/8 inches
Edition of 56
SOLD

INQUIRE

HELEN FRANKENTHALER
Broome Street at Night, 1987
Etching, aquatint, and drypoint in colors on Magnani paper
39 1/8 x 39 1/8 inches
Edition of 68
POR

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HELEN FRANKENTHALER
Earth Slice, 1978
Soft-ground etching, sugar-lift etching, and aquatint on Mauve HMP handmade paper
15 x 25 3/4 inches
Edition of 46
POR

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HELEN FRANKENTHALER
Ganymede, 1978
Etching and aquatint
22 1/4 x 16 1/2 inches
Edition of 49
POR

INQUIRE

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Contact

contact@hamiltonselway.com
P. 310-657-1711
F. 310-657-7771
8678 Melrose Ave
West Hollywood, CA 90069

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