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An abstract expressionist oil on canvas painting. Signed and attr. Helen Frankenthaler (American, 1928-2011) on lower right corner. 16 x 22 in (40.6 x 55.9 cm), chip and cracks along bottom middle edge. A second-generation Abstract Expressionist painter, Helen Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Arshile Gorky, Willem de Kooning, and Jackson Pollock. She gained fame with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the ’60s. Her own canvases, however, often evoked elements of landscape or figuration in the shaping of their forms. “My pictures are full of climates, abstract climates,” she once said. “They're not nature per se, but a feeling.” From 1958 to 1971, she was married to fellow Abstract Expressionist Robert Motherwell, who, like Frankenthaler, worked in symbolic painted gestures—only her paintings were almost always visibly improvised from start to finish. As poet and critic Frank O’Hara wrote in 1960, “she is willing to risk everything on inspiration.” In addition to painting, Frankenthaler also made ceramics, welded steel sculptures, and set designs, but the related medium that most attracted her, and in which her achievement came the closest painting, was printmaking—especially the creation of woodcuts, hers counting among the greatest of contemporary works in that medium.
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品相报告
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By [Artist Name]: In our opinion, the work is by the artist.
Attributed to [Artist Name]: In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name]: In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name]: In our opinion, the work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name]: In our opinion, a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: In our opinion, a work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century: In our opinion, this work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
Bears signature: In our opinion, the signature on the artwork may be spurious.