COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000154
image_record_id
aahi0000154
Image Record ID
false
Work Title (display):
Cedar Hill
Image Title:
full view
Work Dates (display):
1983
Work Dates type:
creation
Work Creator (display):
Helen Frankenthaler (American, 1928-2011)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
American painter and printmaker. She studied with Rufino Tamayo while at Dalton School, New York, with Paul Feeley (191066) at Bennington College, VT (19469), and privately with Wallace Harrison in 1949 and Hans Hofmann in 1950. In that year she met Clement Greenberg, David Smith, Jackson Pollock, Lee Krasner, Willem de Kooning and others. Like several of the exponents of Abstract expressionism she was concerned with the forms and energies latent in nature. In the mythology of technical breakthrough that was part of the culture of the New York School, her work Mountains and Sea (1952; artist's col.; see fig.) has an established place. Extending Pollock's method of painting on unprimed canvases on the floor, she allowed thinner pigments to soak directly into the canvas. This created a closer relationship between image and surface, the weave of the raw canvas being visible within the painted image. At the same time the visibility of the canvas beneath the painted surface negated the sense of illusion and depth. It was a device that called attention to both the material and the nature of the medium. The technique also generated a new range of liquid-like atmospheric effects reminiscent of the watercolours of John Marin. Morris Louis and Kenneth Noland, the leading figures of a group sometimes known as the Washington color painters, were among several painters who saw Mountains and Sea in 1953 and developed its implications in their own work. Louis in particular pursued the possibilities of the technique of 'staining' colour into the canvas. There is a strong sense of technical play in Frankenthaler's works, which are often meditations on the divisions and ambiguities of space. One of her subtlest and most abstract pieces of this kind is Seven Types of Ambiguity (1957; artist's col., see Rose, p. 65), in which, without major shifts in colour values, she explored depth and perspective in witty homage to the English literary critic William Empson, after whose book (London, 1930) of densely-layered criticism the painting is named. In 1958 she married Robert Motherwell. About 1957 she began to explore relationships between linear skeins and small sun-like shapes in serial works. This in turn gave way in the early 1960s to single stains and blots. Her next phase involved an expansion of form and the use of richer colours with acrylics, as in Cape (Provincetown) of 1964 (see United states of america, fig. 18). Throughout the late 1960s and 1970s she continued this larger scale of work in a conscious exploration of large abstract forms and their shifting relationship to the framing edge, as in Mauve District (1966; New York, MOMA), and she executed sequences of paintings in which she alternately emptied and filled the centre spaces, such as Stride (1969; New York, Met.). Throughout her career Frankenthaler experimented with both form and materials, exhibiting sculpture in the mid1970s and working with woodcuts and colour printing as in Essence Mulberry (woodcut, 1977; see 1980 exh. cat., p. 49). In the 1980s her work became calmer, the gesture less energetic, her range of colours more sombre. (Grove Art Online Accessed 2006-07-26)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Style Period:
Abstract Expressionist
work_styleperiod
Abstract Expressionist
Work Style Period
false
Work Worktype:
woodblock prints
work_type
woodblock prints
Work Worktype
false
Work Category (VRC classification):
prints
work_category__ucbaahvrc_classification_
prints
Work Category (VRC classification)
false
Work Material and Technique (display):
ink on paper
Work Measurements (display):
ca. 52 cm (H) x ca. 64 cm (W)
Work Location (Repository or Site) name:
Museum of Modern Art (New York, N.Y.)
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
350.1987
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
New York, New York
Image Rights (display):
© Museum of Modern Art, New York. Licensed for educational use via Scholars Resource: Davis Art Images
Image Rights license agreement:
DAVIS ART IMAGES: This image is copyrighted by Davis or its sources and all interest in and to the Image and its copyrights throughout the World are retained by Davis or its sources. Your permission to use the Images is limited as provided below. You acknowledge and agree that your use of the Images, including all use by your faculty and students who are users, shall be strictly limited to educational purposes by means of display through classroom projection and closed network, for instruction and study solely by users who are staff, faculty and registered students of your educational institution at the locations specified below. This license includes permission to use the Images on a multi-user network at the defined locations, and to permit remote access to a computer/server located at your site. Simultaneous display in multiple locations at or connected to the defined locations also is permitted. For all of these uses, you willl use reasonable security measures designed to limit access accordingly (e.g. by requiring authenticated password entry or by using other reasonable security measures to limit access). Any open access use and any publication (including scholarly publication) of the Images for any purpose, is strictly prohibited. Any request for any such use, or any other use not expressly authorized in this Agreement, must be directed to Davis in writing. You shall inform all permitted users of the copyright status of the Images and the restrictions on their use set forth in this Agreement. Your specified locations of use are: 1. University of Colorado at Boulder; 2. University of Colorado at Denvcer and Health Sciences Center (inclusing the Metropolitan State College of Denver and the Community College of Denver which may have students on that downtown campus); 3. University of Colorado at Colorado Springs.
Work Rights (display):
unknown
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
CU Copyright Statement:
The contents of the University of Colorado Digital Library are available for your use in research, teaching, and private study. Some of these items are protected by the U.S. Copyright Law (Title 17, U.S.C.) and some items may have additional restrictions. If you use the items in this collection, make sure you abide by any restrictions stated in the descriptive data window. The nature of these collections often makes it difficult to determine the copyright status of an item. We have made every effort to provide information about copyright owners and other restrictions in the descriptive data window. Ultimately, however, it is your responsibility to use the item according to the terms governing its use. If you are a copyright holder and the information is either not listed or listed incorrectly, please let us know so that we can update the information on our site.
Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.