The First Art Newspaper on the Net   Established in 1996 Wednesday, January 27, 2021

Gagosian opens an exhibition of paintings by Helen Frankenthaler in Rome
Tunis II, 1978. Acrilico su tela, 95 x 114 1/2 in, 241.3 x 290.8 cm © 2019 Fondazione Helen Frankenthaler, Inc./Artists Rights Society (ARS), New York. Photo: Rob McKeever. Courtesy Gagosian.

ROME.- Gagosian is presenting an exhibition of paintings by Helen Frankenthaler in Rome, coinciding with an exhibition of her work at the Museo di Palazzo Grimani, Venice, on the occasion of the 58th Venice Biennale.

In the summer of 1974, Frankenthaler rented a house at Shippan Point in Stamford, Connecticut, facing the waters of Long Island Sound, marking the beginning of an important period of change for her work. Sea Change comprises eleven canvases that Frankenthaler painted between 1974 and 1983, which reflect her responses to the changing appearance of the wide vistas and moving tides.

One of the earliest canvases, Ocean Drive West #1 (1974), is explicitly oceanic with its floating horizontal bands, seeming to recede across an expanse of transparent blue. In Jupiter (1976) and Reflection (1977), the bands are clustered together and turned to the vertical, appearing to all but dissolve. In both of these paintings, the warm earth colors of the bands contrast with a cool, aqueous blue-green, evoking the meeting of land and water. The large, wide canvases, Tunis II and Dream Walk Red (both 1978), emanate warmth, with densely layered dark red, rose, crimson, sienna, and scarlet. In this period, Frankenthaler talked about “doing more to each picture,” to create something at once more complex and complete.

In Feather (1979), Omen (1980), and Shippan Point: Twilight (1980), colors mix, layer, and fold into each other to produce soft, unnameable hues. The dabs, dots, and dashes of yellow pigment in Omen presaged the ambitiously scaled horizontal canvases that followed, with thick clumps and trails of darker-colored pigment on a lighter atmospheric ground in Sacrifice Decision (1981), or lighter on darker in Eastern Light (1982). With Tumbleweed (1982), Frankenthaler sets this painterly incident onto a solid, mid-toned field of green, which turns it away from the allusion of atmosphere—air and water—onto firmer ground, as acknowledged by the title, and the verdant surface. This, the latest canvas in the exhibition, makes clear that Frankenthaler is no longer thinking of the water and is instead imagining moving over a flat, resistant surface. Its solid green ground is at once the opposite and the outcome of what had begun with the ocean blue monochrome of Ocean Drive West #1. A “kind of sea” was back on land.

Helen Frankenthaler: Sea Change is the fifth exhibition of Frankenthaler’s work presented by Gagosian since 2013. It was organized by John Elderfield, a senior curator at Gagosian. The exhibition will be accompanied by a fully illustrated catalogue with an essay by Elderfield.

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 will open at Palazzo Grimani, Venice, on May 7 and remain on view until November 17.

Today's News

March 14, 2019

National Gallery opens Sorolla's first major exhibition in the UK for over a century

Thomas Heneage to offer the library of TV art historian and nun Sister Wendy

Getty Museum presents first major exhibition of the work of Oscar G. Rejlander

Italy should take back the Mona Lisa, Salvini jokes

"Cycling in the City: A 200-Year History" opens at Museum of the City of New York

Bob Dylan's Fender guitar from Blonde on Blonde sessions may rewrite music history this Saturday

Gagosian opens an exhibition of paintings by Helen Frankenthaler in Rome

Furniture architect Finn Juhl featured in new exhibition at Nationalmuseum

Cache of letters from Princess Margaret reveal a modest young woman captivated by baby nephew Prince Charles

Morphy's rolls out rare signs, gas pumps & globes for April 3 petroliana auction

Exhibition features items related to soldiers returning home after WWI

Cardi Gallery opens an anthology exhibition dedicated to the pioneering Japanese movement Mono-ha

Pirelli HangarBicocca exhibition wins 2018 Best Impressionist and Modern category at Global Fine Art Awards

Halle Berry and Hugh Jackman's favourite artist Lita Cabellut exhibits her work at Opera Gallery, London

Exhibition at Center for Contemporary Art Tel Aviv features a new performative work by Alex Mirutziu

Freelands Foundation opens Fault Lines, a group exhibition

Newfields appoints Dr. Michael Vetter as Assistant Curator of Contemporary Art

Christian Kaspar Schwarm awarded the ART COLOGNE Prize 2019

Bonhams appoints Giles Moon as Director of Music & Entertainment Memorabilia

Exhibition at Central Saint Martins reveals that our romantic entanglement with capitalism is nothing new

Maria Lassnig Prize 2019 will be awarded to the artist Sheela Gowda

The Drawing Center appoints new Staff Director of Development Rebecca Brickman

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful