Helen
Frankenthaler

Frankenthaler's soak-stain technique was the revolutionary approach to painting which she developed in the early 1950s, forever altering the landscape of abstract art. This method involved diluting oil paints with turpentine or other solvents before applying them to unprimed canvases. This process allowed the thinned paint to soak into the canvas, creating a stained effect that is reminiscent of watercolour. The technique was a significant departure from the thick impasto style of her abstract expressionist peers, and it allowed for the creation of fluid, translucent colour fields that appear to merge seamlessly with the canvas, imparting a sense of depth and luminosity.

Frankenthaler's innovative approach was partly inspired by Pollock's action painting but – whereas he dripped and splattered – she poured her thinned paints, using gravity to guide the flow of colour. This method resulted in a more organic and less controlled outcome, with the hues spreading and blending in unpredictable ways. The soak-stain technique gave her works a characteristic softness and subtlety, contrasting with the bold compositions of her predecessors and contemporaries. It also allowed Frankenthaler to explore the interplay of colours in new ways, layering thin veils of paint and creating complex colour relationships, with hues blending, contrasting and interacting across the canvas. Throughout her career, Frankenthaler continued to refine and evolve her technique, experimenting with different paints, mediums and canvases. Her willingness to innovate and push the boundaries of abstract painting cemented her status as a major figure in 20th-century art. Frankenthaler's technique remains influential, with contemporary artists continuing to draw inspiration from her approach to colour, form and their relationship to the canvas itself.

Frankenthaler’s exploration of colour dynamics became a hallmark of her work and influenced many other artists. Her influence on the Colour Field movement was profound and pivotal, as highlighted by her participation in the seminal 1964 exhibition Post-Painterly Abstraction, curated by Clement Greenberg. This exhibition was crucial in defining and disseminating the principles of the Colour Field movement, as it emphasised a new form of abstraction that moved away from the emotional intensity and gestural brushstrokes of Abstract Expressionism towards a clearer, more open composition. Frankenthaler's work exemplified these ideals. Post-Painterly Abstraction secured Frankenthaler's place in the art world and marked a defining moment in the evolution of post-war American art, signifying a transition from the emotive Abstract Expressionism to a more serene yet deeply engaging form of abstraction.

Throughout her career – and particularly evident in exhibitions like Greenberg's – Frankenthaler continued to explore the interplay of colours. Her contribution to the Colour Field movement through these explorations was not just through her unique technique, but also in her approach to using colour as a medium for conveying complex emotions and ideas.

Frankenthaler is also known for her relationship with artist Robert Motherwell, a personal and professional partnership that played a significant role in shaping American modern art. The two artists married in 1958, a marriage that lasted until 1971. This period marked a vibrant phase in their respective careers, as they both were prominent figures in the post-World War II abstract art scene: their relationship was a union of creative minds. Frankenthaler and Motherwell inspired and influenced each other's work, though they maintained distinct styles and artistic identities. Frankenthaler brought a unique approach to colour and composition that complemented Motherwell's more gestural and expressionist style. Their shared interests in abstraction and exploration of form and colour theory created a dynamic synergy in their work.

During their marriage, Frankenthaler and Motherwell were part of a larger circle of abstract expressionist artists, including Pollock, Lee Krasner and de Kooning. They often exchanged ideas and critiqued each other's work, contributing to a vibrant artistic community. Despite their personal relationship ending in 1971, Frankenthaler and Motherwell continued to respect each other's work and remained influential figures in the art world. However, their relationship also highlighted the challenges and complexities of being a female artist married to a more established male artist. While Motherwell was already a well-known figure in the art world at the time of their marriage, Frankenthaler had to navigate her own path to recognition and suffered accusations that he helped her career. Over time, she established herself as a significant artist in her own right, not merely as Motherwell's wife, and became a key figure in the development of postwar American abstract art.