Frankenthaler, acclaim of the sweetness

Frankenthaler, acclaim of the sweetness
Frankenthaler, acclaim of the sweetness
Chez Gagosian, les toiles de l'Américaine éclairent le parcours d'une artiste ayant eu à s'imposer au cœur d'une cutting edge dominée standard des stars masculines.

The enormous American painting of the post-war period is that of the hardness. "Hard considering, hard painting," composed the artist and workmanship pundit James Schuyler in 1960 to qualify the unique painting School of New York and its subschools loaded with variations. The canvases see huge and are sprinkled by the paint that up in sloppy loads on their surface, chapstick and solidifies there in indécrottables trails or well overcomes all the space in huge verticals splendidly shaded. The canvas is harming, and it is not generally wonderful to see is not an issue. It's a dump. Helen Frankenthaler, while she was toward the finish of the 1950s the Pollocks, Newman or Kline does generally and it is "this mettle to conflict with this hard, hard-painted idea" that Schuyler salutes and whose display (the first in France since 1963) vouches for the Gagosian Exhibition of approximately fifteen compositions made in the vicinity of 1959 and 1962. The period is critical in the work of Frankenthaler. Conceived in 1928 (kicked the bucket in 2011), the young lady is as of now renowned at thirty years old and adoubée by the MoMA-who obtains a considerable lot of her artistic creations and additionally by the press, Life magazine La Shooting in her workshop as right on time as 1958, for good reasons. For she concocted something, a style, a method for painting, a specific brilliance, diffuse, light, gracile, which has nothing to do with what we had seen some time recently. This shimmers in a noteworthy and early canvas (1952), mountains and ocean. The paint extends on the canvas in pale, yet not wiped out, shaded puddles.

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Frankenthaler, acclaim of the sweetness Frankenthaler, acclaim of the sweetness Reviewed by Read to Digest on 3:32 PM Rating: 5

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