NEW YORK (AP) â€" Helen Frankenthaler, an epitome painter famous for her bold, musical use of tone who led a postwar art movement that would after be termed Color Field painting, died Tuesday during her home in Connecticut, her nephew said. She was 83.
One of Frankenthaler's many famous works is "Mountains and Sea," a 1952 portrayal during a National Gallery of Art in Washington, D.C., that she combined by pouring thinned paint directly onto raw, unprimed board laid on a studio floor.
Frankenthaler's genocide during her home in Darien, Connecticut, followed a prolonged illness, pronounced her nephew, Clifford Ross, a multimedia artist and photographer famous for his vast landscapes.
Her epitome character helped American art make a transition from Abstract Expressionism to Color Field portrayal and shabby such artists as Morris Louis and Kenneth Noland.
"Very few artists are means to rise a wording and emanate an cultured that affects other artists deeply," pronounced Ross. "She was a one who transmitted a certain kind of leisure and arrogance use of a subconscious and incentive from a Abstract Expressionists on by a Color Field painters."
She was awarded a National Medal of Arts in 2002. From 1985 to 1992, she served on a National Council on a Arts of a National Endowment for a Arts.
Frankenthaler was innate on Dec. 12, 1928, on New York's Upper East Side and got her bachelor's grade from Bennington College in Vermont, where she complicated with Paul Feely. She complicated during Columbia University in New York and took portrayal classes with Vaclav Vytlacil during a Art Students League and also with Hans Hofmann.
She was usually 23 when she combined "Mountains and Sea," building on Jackson Pollock's epitome technique by pouring rarely thinned oil paint from coffee cans directly onto a tender board to emanate floating fields of unclouded color. Louis after pronounced "Mountains and Sea" was "the overpass between Pollock and what was possible."
Her initial solo muster was presented in 1951 during New York's Tibor de Nagy Gallery, and she was also enclosed that year in a landmark muster "9th Street: Exhibition of Painting and Sculpture." Frankenthaler also showed internationally, exhibiting during a International Biennial of Art in Venice in 1966 and in a United States Pavilion during Expo in Montreal in 1967.
Frankenthaler went on to rise a rarely personal painterly demeanour within a epitome expressionist movement. She worked in a far-reaching operation of media in further to paintings on board and paper, including ceramics, sculpture, woodcuts, tapestry and printmaking.
Frankenthaler explored a accumulation of linear components in her oil paintings of a 1950s, though in a 1960s she shifted her focus, embracing acrylic paints to try open, prosaic fields of color, clear in a vast and intense 1973 portrayal "Nature Abhors a Vacuum." Ross pronounced she was never enthusiast and cheered art from Henri Matisse to David Smith to Willem de Kooning.
In after years, Ross said, she seemed to have depressed out of preference "because of her welcome of beauty." He likely that in a years to come, Frankenthaler's grant will be "as a guide about lyricism and honesty and, frankly, beauty."
"Helen's role, critically, was to yield beauty and a certain living during a really dour time," Ross said. "One of a things I'm really extraordinary about is to see how fast that will be engrossed and celebrated."
Frankenthaler, whose 13-year matrimony to a painter Robert Motherwell finished in 1971, also is survived by her second husband, Stephen M. DuBrul Jr.
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