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Helen FrankenthalerAcrobat (detail), Limited Edition Porcelain Plate in bespoke blue box - Abstract2021
2021
About the Item
This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!
Helen Frankenthaler
Acrobat (detail), Limited Edition Porcelain Plate in bespoke blue box, 2021
Silkscreen on bone china, held in bespoke blue box
Bears the artist's copyright; Edition of 250
10 1/2 in diameter
In custom blue box (see photos)
Manufacturer:
Prospect, New York on behalf of Coalition for the Homeless
Makes a perfect gift!
This gorgeous plate of fine bone china features a silkscreened image of a detail of Helen Frankenthaler's 1995 work on paper entitled "Acrobat".
The underside of the plate bears the copyright of the Helen Frankenthaler Foundation, as well as the manufacturer. The plate was originally sold in 2021 to raise funds for the Coalition for the Homeless.
This plate was produced in a stated edition of 250 (unnumbered). The edition number is fired on the underside of the plate itself as well as the blue box.
Accompanied in an elegant royal blue box (shown)
Helen Frankenthaler biography
A line, color, shapes, spaces, all do one thing for and within themselves, and yet do something else, in relation to everything that is going on within the four sides [of the canvas]. A line is a line, but [also] is a color. . . . It does this here, but that there. The canvas surface is flat and yet the space extends for miles. What a lie, what trickery—how beautiful is the very idea of painting.
—Helen Frankenthaler
Helen Frankenthaler (1928–2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. A member of the second generation of postwar American abstract painters, she is widely credited with playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstraction, while at times referencing figuration and landscape in highly personal ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow.
Frankenthaler was born on December 12, 1928, and raised in New York. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley, following which she studied briefly with Hans Hofmann.
Frankenthaler exhibited her work professionally for the first time in 1950, at the Kootz Gallery in New York, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark 9th St. Exhibition of Paintings and Sculpture in New York.
In 1952 Frankenthaler created Mountains and Sea, her breakthrough soak-stain painting. She poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland.
As early as 1959 Frankenthaler began to be a regular presence in major international exhibitions. That year she won first prize at the Première Biennale de Paris, and in 1966 she represented the United States at the 33rd Biennale di Venezia, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first museum retrospective in 1960, at New York’s Jewish Museum, and her second in 1969, at the Whitney Museum of American Art, New York, followed by an international tour. Additional museum retrospectives have been held at the Solomon R. Guggenheim Museum, New York, and touring venues (1985, works on paper); Modern Art Museum of Fort Worth, Texas, and touring venues, including Museum of Modern Art, New York (1989, paintings); National Gallery of Art, Washington, DC, and touring venues (1993, prints); Naples Museum of Art, Florida, and touring venues, including Yale University Art Gallery, New Haven, Connecticut (2002, woodcuts); and Museum of Contemporary Art, North Miami, Florida, and touring venue, Royal Scottish Academy, Edinburgh, Scotland (2003, works on paper).
-Courtesy of Gagosian Gallery
- Creator:Helen Frankenthaler (1928, American)
- Creation Year:2021
- Dimensions:Height: 0.5 in (1.27 cm)Diameter: 10.5 in (26.67 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213576562
Helen Frankenthaler
Prolific and pioneering painter Helen Frankenthaler said it was “a combination of impatience, laziness and innovation” that drove her to thin her paints with turpentine so that they would seep into the fabric of an unprimed canvas. Her breakthrough in the early 1950s led the way for a spellbinding new style of painting that would come to be known as Color Field.
Although Color Field is often considered a strain of Abstract Expressionism, Frankenthaler’s work differed from the gestural “Action Painting” that typified the paintings of artists like Willem de Kooning and Lee Krasner. Her vast and immersive expanses of color created at a fearless scale captivated art critics and greatly influenced her peers including Morris Louis and Kenneth Noland.
Frankenthaler knew from an early age that she wanted to be a painter. The youngest daughter of a New York State Supreme Court justice, she grew up on Manhattan’s Park Avenue and as a child delighted in the little ways color and form revealed themselves, whether dribbling red nail polish in a sink full of water or drawing her steps from the Metropolitan Museum of Art to her family’s apartment. As a student at Bennington College, her rare vision was enriched by the mentorship of painter Paul Feeley, who gave her lessons in Cubism. After dabbling in art history at Columbia University, she rented a studio downtown and befriended rising New York art stars like Jackson Pollock and Robert Motherwell, whom she later married.
Characterized by “direct, exuberant gestures,” the Abstract Expressionist technique was all about gusto, and Frankenthaler had it in spades. One of the few women of this era to garner widespread critical acclaim, Frankenthaler had a significant impact on the mid-20th-century art world. She exhibited in the high-profile 1951 Ninth Street Show and, in 1957, she appeared in a Life magazine spread on women artists photographed by Gordon Parks. In 1960, the Jewish Museum held her first major museum show, a retrospective of her 1950s work. A 1969 solo exhibition at the Whitney Museum of American Art further introduced Frankenthaler to the broader art world.
While Frankenthaler remains best known for bold, expressive “soak-stain” paintings such as Mountains and Sea (1952), she worked across diverse media for decades, with forays into woodcutting, drawing and printmaking that also pushed boundaries. She also taught at Harvard, Yale and Princeton, fostering generations of artists. She died in 2011.
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