Helen Frankenthaler was an Abstract-Expressionist painter active in New York City, who pioneered the pure abstraction technique of Color Field painting, which was adopted by Morris Louis, Jules Olitski, Kenneth Noland, Larry Poons, Sam Gilliam, and the early Frank Stella.
In the 1950s, Frankenthaler produced huge paintings via heavily thinned oil paint in her ‘soak- stain’ technique, where many applications of colors were applied to unprimed canvasses laid flat on the floor. Later on Franenthaler would use waist-high enormous tabletops to lay the canvasses on. While this process took time, the effect was one of spontaneity. Frankenthaler felt that, “A really good picture looks as if it’s happened at once.”
During the 1960s she adapted her soak stain technique by using acrylic paint, which was newly developed at that time. She would apply multiple layers of acrylic paint on paper and canvas, creating art that blended forms in a way similar to that of watercolors. Throughout the 1960s and 1970s Frankenthaler became known for her gorgeous sweeps of inflected color, and she based some of her paintings on the Old Masters. Her style was lyrical, even feminine, in a decade that was dominated by a macho aesthetic. Some of her very large abstract paintings are suggestive of landscapes.
She was also recognized for her inventive printmaking, especially woodcuts. In her lithographs, etchings, and screen prints, she assimilated much from Chinese and Japanese art.
Frankenthaler received 26 honorary doctorates and had several major retrospectives at the Jewish Museum, the Whitney Museum of American art, MoMA, and the National Gallery of Art with her artwork shown and held in major museums such as the Metropolitan Museum and LACMA .