Helen Frankenthaler (American, 1928-2011), "Reflections IX", 1995, lit – Lofty Marketplace
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Helen Frankenthaler (American, 1928-2011), "Reflections IX", 1995, lithograph in colors, signed and dated, ed. 30

Helen Frankenthaler (American, 1928-2011), "Reflections IX", 1995, lithograph in colors, signed and dated, ed. 30

Item Description:

Five color lithograph printed from four aluminum plates and one stone on Lana white mould-made paper, signed and dated in pencil lower right, numbered "7/30" (there were also 10 artist’s proofs), published by Tyler Graphics, Ltd., Mt. Kisco, New York and with their blindstamp, with full margins, framed and glazed, bearing labels on the reverse from Tyler Graphics, Ltd., Knoedler & Company, New York, and Sotheby's, New York


Appears fine. Please contact cataloging@lofty.com for specific condition questions. Not examined out of the frame. Lofty does not guarantee the condition or authenticity of frames. 


Purchased by the current owner from sale of Sotheby's, New York, 1 May 2003, lot 445


Sheet: 19 in. x 16 in.

Frame: 25 in. x 19.5 in. x 2 in.

About The Artist:

Helen Frankenthaler (1928-2011) was a prolific second-generation Abstract Expressionist artist. Although primarily a color field painter, Frankenthaler was also a respected printmaker, ceramicist, and sculptor.

Frankenthaler was born in New York in 1928. Her father was a New York Supreme Court justice and her mother a German immigrant. She attended the Brearley School and then the Dalton School, where she studied under Mexican Surrealist painter Rufino Tamayo. After graduating from high school, Frankenthaler attended Bennington College in Vermont, where the Cubist artist Paul Freeley was one of her instructors. Upon graduating from Bennington in 1949, Frankenthaler studied independently with the architect Wallace Harrison and Expressionist painter Hans Hofmann. She was married to the influential American artist Robert Motherwell from 1958-1971.

The color field style of painting is a genre of the Abstract Expressionist artistic movement, an important break from representative painting that marked the beginning of New York City’s development as the center of the western art world. Frankenthaler’s work was included in the influential art critic Clement Greenberg’s landmark 1964 exhibition, “Post-Painterly Abstraction.” The first use of the term “color field” can be traced to this exhibition, a groundbreaking show featuring a new generation of abstract American and Canadian painters who worked in a flat, anonymous style, including Morris Louis, John Ferren, Jack Youngerman, and Frank Stella.

As a color field painter, Frankenthaler was among the first to adopt the method of stain painting, a process where diluted paint pigments are poured over unprimed canvas and allowed to sink into the fibers, creating a sheer effect, similar to watercolor paint, creating a flat effect that does not differentiate between figure and ground. The interaction of the broad expanses of sheer color in Frankenthaler’s work is intended to elicit an emotional reaction from the viewer.

Frankenthaler’s work has been shown at influential public and private institutions internationally, including the Whitney Museum of American Art, New York, the Museum of Modern Art, New York, and the Royal Scottish Academy in Edinburgh, Scotland. Her work is held in numerous public and private institutions worldwide, including the Art Institute of Chicago, Los Angeles County Museum of Art, The Metropolitan Museum of Art, New York, The Detroit Institute of Arts, Centre Pompidou, Paris, and the Solomon R. Guggenheim Museum, New York.


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