Helen Frankenthaler and the Colour Field Movement: A Pioneer's Influence

In 1960, the term Colour Field Painting was used to describe Frankenthaler’s work, a movement identified by large fields of colour, used to create airy compositions removed from the emotional content of Abstract Expressionism. Frankenthaler’s pioneering techniques, especially her signature soak-stain method, expanded the possibilities of abstract art, and have left an indelible mark on the trajectory of abstract art.

Background and Education

Frankenthaler was born in 1928 and raised in New York, hailing from a cultured and affluent family who nurtured her early interest in the arts. She pursued her education at the Dalton School, where she studied under the influential Mexican painter Rufino Tamayo. Later, she attended Bennington College in Vermont, where she was mentored by Paul Feeley, a prominent abstract artist who played a significant role in shaping her early cubist-derived style.

Frankenthaler's initial forays into art were marked by an exploration of large-scale Abstract Expressionist paintings. Her early works were well-received, and from 1950 Frankenthaler’s artwork was regularly displayed in major international exhibitions. These formative years saw the evolution of her style, Frankenthaler gravitating towards simplified, solid colours and symmetrical painting, setting the stage for her involvement in the burgeoning Colour Field Movement.

Inspiration and Innovation

Transitioning from the intense, emotive strokes of Abstract Expressionism, Frankenthaler embraced a more serene and contemplative approach in her Colour Field paintings. While her work retained emotional intensity, it did so through subtle gradations of colour and form, as opposed to Abstract Expressionism’s highly personal, gestural brush strokes in vivid colours. Frankenthaler utilised large swathes of pure colour to create a sense of depth and emotion, her works often conveying a sense of spontaneity and organic development, with colours bleeding into one another to form harmonious, meditative compositions. Her approach to spatial composition was equally innovative, as she treated the entire canvas as a unified field, rejecting traditional notions of foreground and background.

Frankenthaler's early mentors played a significant role in shaping her artistic development. Tamayo’s mentorship introduced her to Modernism, encouraging her to explore abstract forms and pure colours. At Bennington College, Feeley emphasised formalist principles, including the importance of structure, composition, and colour theory, which were integral to Frankenthaler's evolving style. Art critic Clement Greenberg also played a role in Frankenthaler's career. Greenberg, an advocate of Abstract Expressionism, introduced Frankenthaler to prominent artists of the New York School, including Jackson Pollock, Willem de Kooning, and Hans Hofmann. Through these connections, Frankenthaler was exposed to new techniques and approaches to painting.

Stain Painting Method

Frankenthaler's experimentation with paint and canvas led to the development of her revolutionary stain painting technique. Inspired by Pollock's drip painting, she began to pour thinned paint directly onto unprimed canvas, allowing it to soak and spread, creating ethereal washes of colour. This process allowed for greater fluidity and a unique interplay between the paint and the canvas fibres, an approach different from other abstract artists of the time as this method emphasised translucency and the merging of colour fields, rather than the stark contrasts and vigorous gestures characteristic of Abstract Expressionism.

This method reached its zenith with her 1952 masterpiece, Mountains and Sea, a breakthrough painting of abstraction in which the artist used her distinctive method of soak-staining. This piece is credited for its major influence on artists, such as Morris Louis and Kenneth Noland, who formed the Colour Field school of painting.

Mountains and Sea (1952)

Mountains and Sea (1952), stands as one of Frankenthaler's most iconic and influential pieces. This work marks a significant departure from the gestural brushstrokes of Abstract Expressionism, its use of thinned oil paints, which were poured and soaked directly onto unprimed canvas, introducing a new approach that would come to define the Colour Field Movement. The painting was inspired by a trip to Nova Scotia and the painting’s lack of a central focal point encourages viewers to experience the work as a whole, and lends the work an ethereal quality and sense of spontaneity. Its light, almost watercolour-like quality, and the fluidity of the colour fields are hallmarks of Frankenthaler's innovative approach.

Notable Paintings

The Bay (1957) is another quintessential example of Frankenthaler's stain painting technique. This work features a broad, sweeping area of blue, creating a tranquil and expansive sense of space. The fluid application of colour and the interaction between the hues evoke a serene, natural environment, embodying the essence of Colour Field painting.

Flood (1967) is a powerful work that exemplifies Frankenthaler's use of large-scale canvases to create immersive experiences. The painting's title suggests a natural disaster, yet the composition conveys a sense of calm through its balanced and deliberate application of colour. The use of orange and pink dominates the canvas, with areas of blue and green providing contrast and depth.

Essence Mulberry (1977) demonstrates Frankenthaler's continued evolution and mastery of her stain technique. This painting is notable for its rich, vibrant colours and the dynamic interplay between them. The work showcases Frankenthaler's ability to balance spontaneity with control, as the colours spread organically across the canvas yet maintain a harmonious composition.

Pioneering Techniques

Frankenthaler played a crucial role in the development of Colour Field painting, helping to establish it as a distinct movement within abstract art. Her innovative techniques and pioneering vision set the stage for subsequent artists and significantly influenced the evolution of modern painting.

Collaborations and Interactions

Frankenthaler’s relationships with other Colour Field artists were instrumental in the development and expansion of the movement. Frankenthaler was introduced to Louis and Noland through Greenberg, and the two artists visited Frankenthaler's studio in 1953, where they observed her stain painting technique firsthand. This visit had a profound impact on both artists, prompting them to experiment with similar methods in their own work, Louis creating his Veils and Unfurled series, and Noland focusing more on the pure application of colour.

The interactions between Frankenthaler, Louis, and Noland helped to solidify the techniques and aesthetic principles that defined Colour Field painting. Their shared interest in the fluid application of colour and the use of large, unmodulated colour fields became central to the movement.

Impact on Future Generations

Frankenthaler's techniques and aesthetic principles have profoundly influenced subsequent generations of artists. Her innovative use of colour and space inspired notable artists such as Louis and Noland, who further developed the Movement. Contemporary artists continue to draw inspiration from her work, exploring new possibilities in abstraction and colour theory.

Critical Reception and Recognition

Throughout her career, Frankenthaler received critical acclaim for her contributions to modern art. She was celebrated in numerous exhibitions and retrospectives, both during her lifetime and posthumously. Major institutions, including the Museum of Modern Art and the Whitney Museum of American Art, have featured her work, underscoring her enduring significance in the art world.

However, although Frankenthaler undoubtedly had a profound influence on the evolution of abstract modern art, and enjoyed unprecedented success as a female artist in the mid-20th century, this art scene was still largely dominated by male artists. Frankenthaler was often marginalised, or her influence downplayed, compared to male artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.

Frankenthaler stands as one of the most influential American artists of the 20th century, significantly shaping the trajectory of modern art through her pivotal role in the development of Colour Field painting. Her innovative soak-stain technique, and her emphasis on pure colour, simplicity, and spontaneity not only distinguished her work from the gestural intensity of Abstract Expressionism, but also set the stage for a new movement within abstract art. Despite the gender biases of the male-dominated art world, Frankenthaler's contributions were profound and far-reaching. Her interactions with artists like Louis and Noland further solidified the techniques and principles of Colour Field painting, inspiring subsequent generations to explore new possibilities in abstraction. Frankenthaler's legacy endures, celebrated in major art institutions and continued in the works of contemporary artists who draw inspiration from her pioneering vision. Her impact on the evolution of abstract art remains indelible, ensuring her place as a seminal figure in the history of modern art.