Joyous Abandon !"#$%!&#'()*#'(+(,-).(-/'012)34)!15"(2%61(10#+"()) 73-&0#5&)89/01--'"('-&:;"<"0)='1<2)70+-&)>1<1()=0#($1(&?#<10) *0"@15&)501#&12)34)7(201A)B11) ) Helen Frankenthaler C73-&0#5&)*#'(&10)D?")!?#/12)#)E"F1G1(&H)) ) I"0()'()JKLM)#(2)0#'-12)'()N1A)O"0$);'&4P) =0#($1(&?#<10Q-)5#0110)-/#((12)-'9)215#21-)R(+<) ?10)21#&?)'()LSJJP)#(2)'-)/0"3#3<4)31-&)$("A()T"0) /'"(110'(,)&?1)U-"#$%-&#'(U)&15?('VR1)'()/#'(+(,) A?'5?)A"R<2)315"G1)&?1)'(-/'0#+"()T"0)5"<"0) W1<2)/#'(+(,X)) ) CHILDHOOD, EDUCATION AND INFLUENCES • At age 4, filled her bathroom sink with water and put drops of her mother’s nail polish on the surface of the water stirring it around to make different designs. • Her favorite childhood game involved pictures in which different faces and animals were hidden. The challenge was to find as many as possible. • At the Dalton School, she studied with the famous Mexican muralist Rufino Tamayo. Of that time in her life, she has said, "It saved me and made me flower at a fragile time in my life. The war was on, my father had died and I had not done well in school. It introduced me to the thrill of being an artist.” • In college, Frankenthaler studied with renowned painter Paul Feeley who encouraged her to explore working in a Cubist manner: reject copying nature and reject traditional techniques of Realism, including perspective, modeling and foreshortening. ABSTRACT EXPRESSIONISM 1950S Clyfford Still, No. 2 1950 Life magazine cover 1951 “Abstract Expressionists” Willem de Kooning, Ganesvoort Street 1949 Franz Kline) Mark Rothko) In the 1950s, Abstract Expressionism was at its influential peak. Born out of the aftermath of WWII and the resulting changes in culture, technology, and attitudes. Television was popular, and almost everyone owned a car. Rock and Roll took over the music scene. Artists of the time wanted to break away from tradition, both in terms of technique and subject matter, these artists valued intuition, spontaneity and most importantly, PROCESS. Jackson Pollock Pollock’s paintings had a profound influence on Frankenthaler. This made her realize the importance of getting her paintings off of the easel and working on them from above. Additionally, Pollock’s use of unprimed canvas—leaving it open for paint absorption—excited her. However, the way he painted didn’t. In fact, she has said, “It’s a kind of boring accident to me, a drip. There are many accidents that are very rich that you can use, but if you exploit a drip it’s very boring and familiar to begin with. Drips are drips.” NEW PROCESS ”SOAK STAIN” Process or the act of doing was THE critical factor for the Abstract Expressionists. Frankenthaler stated that beginning a painting was “making a start somewhere and then seeing what happens through the sustained act of painting.” This intuitive and instinctual method was used not only in the beginning, but for the overall composition, color, space and other formal elements. Frankenthaler reacted to what was before her, trusting herself and embracing the process. Mountains and Sea, 1952 Her first soak-stain painting inspired by her visit to Pollock’s studio and a trip to Nova Scotia (though abstract, many of Frankenthaler’s paintings were developed through her unconscious memories of actual or imagined landscapes. “A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.” -Helen Frankenthaler The Bay, 1963 Helen Frankenthaler Around The Clock With Red, 1983 Helen Frankenthaler ) In the next painting, what colors do you think stand out? Which colors do you prefer? Why? ) ORGANIC –! Refers to shapes or forms having irregular edges or to surfaces or objects resembling things existing in natureX) ) Smalls Paradise, 1964 Helen Frankenthaler A Green Thought in a Green Shade, 1981 Helen Frankenthaler Do you think Helen Frankenthaler used paint without mixing it or did she mix them to create their own unique colors? Which do you like better? ) Granada, 1953 Helen Frankenthaler ) Southern Exposure, 2005 Helen Frankenthaler What techniques do you think Frankenthaler used to create such a variety of color? ) COLOR FIELD: A style of abstract painting that de-emphasizes gesture and brushstroke in favor of form and process. In Color Field painting "color is freed from objective context and becomes the subject in itself.” Pink Lady, 2005 Helen Frankenthaler ) Contentment Island, 2004 Helen Frankenthaler ) Artists often use color to convey emotion. What are some emotions and what colors do you associate with them? For E. M., 1981 Helen Frankenthaler ) Helen Frankenthaler in her studio Quattrocento, 1984 ) BaySide Helen Frankenthaler ) THE PROJECT Frankenthaler quotes on starting a new painting: “I will sometimes start a painting feeling “What will happen if I work with three blues and another color, and maybe more or less of the other color than the combined blues?” And very often midway through the picture I have to change the basis of the experience.” “I’d rather risk an ugly surprise than rely on things I know I can do.” COLLABORATION: working together for a a common goal THE BENEFITS OF COLLABORATIVE ART: • !Students can work on larger pieces together • !Students can learn techniques from one another • !Students can get different input/perspectives and insight into their classmates • !Students can reduce anxiety towards trying new skills • !Students learn about cooperation vs. competition 1. Wet canvas with spray bottle 2. Pour diluted paint onto canvas 3. Use spray bottle to spread and blend paint CONTINUE TO ADD MORE PAINT Explore the “Soak Stain” process What happens when you.. • Lift the edges of the canvas • Spray water on the painted canvas • Use wooden tool on its side to spread paint around canvas Experiment COLLABORATIVE: INDIVIDUAL What To Paint? This project is about abstract painting, process and chance not creating literal or representational images. For inspiration look at the sky, clouds, and surfaces of things. INDIVIDUAL: Aesthetic Valuing ! Take time at the end of the project to have students reflect on their artwork by asking these grade level questions. The conversation can be facilitated by docents or classroom teachers. TK-1 What colors did you choose and why? What colors stand out? 2-3" Did you learn anything that surprised you? Do the colors in your piece work together(complement) or fight each other (contrast)? 4-5" Does your art reflect Helen Frankenthaler’s style? How and Why? If you could ask Helen Frankenthaler 3 questions what would they be? If time is short, any of the following questions are appropriate for all grade levels: When you look at your artwork, how does it make you feel?" Are you happy with your project? What do you like best about your project? ) )
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