HELEN FRANKENTHALER'S ARTWORK

Helen Frankenthaler's Artwork

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Helen Frankenthaler's Mountain and Sea

Helen Frankenthaler was one of the notable American abstract expressionist painters of his time, and had given great contributions in the history of postwar American painting. Frankenthaler used the technique of directly pouring the paint on the unprimed canvas surface, which allowed the soaking of colors in the supports of the canvas. This was done in an absolutely traditional process in a highly instinctive manner that was known as the next big thing on the American art. The most famous artwork of Helen includes “Mountain and Sea” in which she invented her own technique of soak-stain. This painting expressed a beautiful blend of feelings, colors and expressions by Helen.

During the course of creating Mountains and Sea (1952), Frankenthaler discovered her variant of innovation of the pouring technique by Jackson Pollock. In this technique, she placed huge canvases on the floor and poured paints onto them. Her work, Mountains and Sea was, basically, a presentation of a form of abstract painting which extended beyond the psychologically fraught, textured canvas of Pollock (Smith, 2011). This composition of Helen was based on colors completely. She had produced this painting on her return to New York from a trip to Nova Scotia, and it is a light-struck, sheer evocation of rocks, hills and water.

The painting is a delicate harmonization of painting and drawing, and possesses the effects of watercolor, despite of the fact that it has been painted in oils. The image of the mountain and sea did not transfer a mass adjacent notion to the ocean's horizontal blue line. The painting is drawn with a pattern of an irregular shape colored in blue looming over a grey and green field. The different blue layering gives the painting a billowy effect in blue shape. The painting is made up of numerous colors including green, blue, and red stains vanishing into pink with a glowing yellow, small ochre route combining into the clue of landscape. These colors have been used because they are not bold but big, not clinical or empty but abstract, and a presentation of orderly and free, intensely relaxed, lively and peaceful environment (Benford, 2011). Since the water is feminine, these colors are vaguely feminine while instinctive and dissolving, on an enveloping scale.

The technique of Frankenthaler through which she had directly poured the paint on the unprimed ...