Exhibition within the Museum Reinhard Ernst to Helen Frankenthaler | EUROtoday

Helen Frankenthaler was undoubtedly an important and finest -known summary expressionist of the United States alongside Lee Krasner. No painter in entrance of her and after her, principally incompatible colours put in harmoniously fluid aspect by aspect. In addition, as an inventor of the “Soak Stained” technique-she could also be thought of a coloration tear of the unclassed canvas to generate paradoxical flat-deep picture zones-and is among the founders of coloration discipline portray.

The coupling of “abstract expressionism”, “invention of color field painting” and “USA” ought to have been relativized for a very long time. Not solely was Frankenthaler’s Jewish mom Martha born in Wiesbaden-Igstadt, just a few kilometers from the present place of the biggest exhibition in Germany for nearly thirty years final yr Reinhard Ernst (mre), in order that Helen already took up a shaken measure of previous Europe as a toddler.

Her instructor Hans Hofmann from the Summer School within the American Providecetown, who vehemently inspired her to the portray profession, dates from the tranquil city of Weißenburg in Franconia, and much more necessary affect – the pioneer of the apparently nice American coloration discipline portray – Joseph Albers along with his serial homage onto flat, born in Bottrop.

What ought to the family tree? Especially within the typically Europe and European artwork historical past in addition to its avant -garde of early modernity as an indispensable foundation on your personal work, Helen Frankenthaler is important for the deeper understanding of her work to level out the roots of submit -war modernism on the previous continent and the central middleman of the emigrants.

If you bridle the extraordinarily exceptional Wiesbaden exhibition from behind and take this to the 5 halls with a complete of 32 Frankenthalers (from 50 within the possession of the museum) preceded quote as a motto critically, that within the penultimate corridor “you never give anything out of the past”, which isn’t essential to the cliché of American zero and full re -findings.

The picturesque reminiscence of their travels to the cave work of Altamira and Lascaux in “Cave Memory” from 1959 – like Frankenthaler’s footage on unknown canvas, are additionally apparent – and the acutely aware connection to massive function fashions within the monumental panorama “for Hiroshige” from 1981.

What is supposed by the Japanese artist Utagawa Hiroshigen as an unreachable grasp of the graphic from the primary half of the nineteenth century, of which Frankenthaler owned probably the most charming coloration woodcuts from the sequence “Hundred famous views by Edo”. However, whereas Hiroshigen, nevertheless, cheeks the viewer look cheeky on the butt of a darkish purple -brown horse with gold -tied hooves, Frankenthaler takes over solely three of the hooves in a really enlarged type from the graphic, mixes the darkish brown of the horse with the gold shiny hooves to a beige and leaves the entire thing in a inexperienced fund, not with no robust purple ribbon with the racel To pull – apparently one yr after Gerhard Richter invented the summary squeegee photographs in 1980. Color as a cloth and the chic reduction to be scanned with the eyes meets soac-stained hooves that seep into unclassed canvas.

This eye -opening melange richest influences – from cave caves to Japanese character cosmes – presents itself in a continent overstating panorama. Frankenthaler’s early portray “Provincetown Harbor” from 1950 (a port view with semi -abstract sail in a wild mixture of characterful KandinSky and sail in a continent. Feininger-Schifflein) and “The Bay” from 1957 within the rapid neighborhood of the work of its instructor Hans Hofmann (with “The Hedge”, as Frankenthaler’s “Hafen” was additionally created in 1950 in Provincetown, which exhibits a totally completely different summary and thorough hedge manufactured from pastosem scour “Provincetown” image) and the mentor Adolph Gottlieb with the ball image “Two Bars”, whose flat circles quoted her in her homage “Green Moon”.

The mates Friedel Dzubas (additionally Hofmann-Schüler with the monumental “Argonaut”), Lee Krasner within the secondary corridor as a spouse of the Frankenthaler buddy Jackson Pollock and Kenneth Noland in addition to footage of the associate for at the very least 13 years, Robert Motherwell. In addition, the spirit of her mentor and momentary associate Clement Greenberg, an important artwork critic of the United States and inventors of the Flatnesstherefore the world portray.

The undeniable fact that the exhibition title “Move and Make”, “Moving and Making” as a substitute of remaining – how your quote continues – is greater than justified is especially evident within the spectacular “tower room” of the home with its pyramid dome, internally known as cathedral. “There is no, always’. No formula. There are no rules. Let the picture lead you to where it has to go, ”says the large formats and emphasizes Frankenthaler credo of the artist’s will to change over fifty years, but also the gently controlled loss of control. Where many abstract at that time as post -pubescent gesture of alleged indomitability, Frankenthaler steered with a beauty offensive against it.

Her most lovely coloration has ever been painted is “Barcelona” from 1987. As in “Palestrina” and “Fenice” the picture title is already shining here, he can mean the city or the composer or the theater, in the case of “Barcelona” the big city and cultural metropolis with integrated bathing beach, the earwig Freddie and Montserrat Caballés or a tribute Gaudí and Miró. Squilling the strongly diluted color in long lanes, just as she needs it.

And how typically together with her (for instance in “Sea Level”, which despite the title brings the rather horizontal sea into the vertical), it is a subsequent overturned landscape format that abstracts the flowing transition from sand -colored beach, brownish mountains/sea and green horizont. In addition to the flash of eyes of the green-brown, she uses pearl-gloss color, which would have simply caused kitsch with most of the painters, but only reinforces the aesthetics of the image.

Everything flows in the painting of the passionate swimmer, who, due to the early success, painted several houses with a fantastic lake and sea view and mixed the moist element plentiful into her colors. Like Pollock, she stood on the floor in the middle of the rolled -up canvases and poured the color into white as a nose. On Frankenthaler’s portrait format “Lunar Avenue” from 1975, three color fountains hissed high in the white primed picture space and far beyond in the real.

And on “Spanning” from 1971, four color continents coming from the edges drift with a restless bank contour in a balance tense up to tearing parallel to the outside and into the empty sea of ​​the image inside, where you just hold a breath of pencil lines and colored pencil threads together. If you remember that in the year of the picture of the picture, her marriage diverge with Motherwell, once again the narrow Nexus of felt color and flow is shown.

Helen Frankenthaler. Move and Make. Museum Reinhard Ernst Wiesbaden; till September twenty eighth. The catalog prices 29.90 euros.