Frases de Helen Frankenthaler (48 citas, página 2)

Helen Frankenthaler: 48 frases 1 Me gusta

Helen Frankenthaler Frases y Citas

“Uno debe saber cómo aprovecharse de los accidentes, cómo reconocerlos, cómo controlarlos, y debe encontrar modos de eliminarlos para que toda la superficie aparezca como nacida a la misma vez.”

Helen Frankenthaler

Fuente: Helen Frankenthaler: el lado femenino del expresionismo abstracto. https://www.vice.com/es_mx/article/ywbdgb/creators-helen-frankenthaler-el-lado-femenino-del-expresionismo-abstracto

“No hay reglas. Así es como nace el arte, cómo suceden los avances. Ir contra las reglas o ignorar las reglas. De eso se trata la invención.”

Helen Frankenthaler

De arte

Helen Frankenthaler: Frases en inglés

“And I was painting and changing and developing and going through [c. 1950-52] that bridge from early Kandinsky and Gorky to my own [painting] thing. And just soaking up [Willem] de Kooning and [Jackson] Pollock... So I had the place to myself. And while Bill [= Willem] and Elaine [de Kooning] and Charlie [Egan] and such would maybe come to my studio, there was no thought,.... of my going in with those four or five young ones.”

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Helen Frankenthaler

quote about her painting-years 1951-52
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..”

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Helen Frankenthaler

quote about influence of Pollock
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“We [Helen and Clement Greenberg] went through the hill towns of Italy together, and we'd picnic in Perugia and argue about the Quattrocento painters and why this Simone Martini was better than that Simone Martini, or why this Sienese guy was better than that guy from Orvieto. I learned how to look at modern pictures because of Old Masters, and vice versa.”

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Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“The picture developed – bit by bit while I was working on it – into shapes symbolic of an exuberant figure and ladder…. therefore: 'Jacob's Ladder' [= the title of the painting she made in 1966].”

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Helen Frankenthaler

Quote on the birth of a title of her art-work 'Jacob's Ladder'; from: MoMA Highlights, New York, The Museum of Modern Art, revised 2004, originally published in 1999, p. 219 http://www.moma.org/collection/object.php?object_id=78722
1990s - 2000s

“He [ Rufino Tamayo, Mexican painter] showed me how to use my first paint box [and gesturing toward an old wooden palette displayed like a prize on the wall] That's my original palette!”

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Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

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Helen Frankenthaler

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“I think today 'beautiful', which is always a tricky word, but now it's become an incendiary word, because in many ways today beauty is obsolete and not the main concern of art. And you can't prove beauty, it's there as a fact.... and you know it, and you feel it, and it's real. But you can't say to somebody.. this has it. I might be able to say it and others might recognize it. But it gives no specific message, other than itself, which in turn should be able to move you in to some sort of truth and insight, and something beyond art. I mean initially it's pleasure that grows. But it isn't just the shock of a message that you can have and dismiss. Once you've had it, it's over.”

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Helen Frankenthaler

Quote in 1993 from: 'Helen Frankenthaler interviewed by Charlie Rose', April 12, 1993, at 40:02 http://video.google.com/videoplay?docid=3385833841734265950#
1990s - 2000s

“My life is square and bourgeois. I like calm and continuity. I think as a person I'm very controlling, and I'm afraid of big risks. I'm not a skier or a mountain climber or a motorcyclist. And I'm not a safari girl - I never want to go on a safari. My safaris are all on the studio floor. That's where I take my danger.”

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Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“.. [from Pollock Helen took over] the concern with line, fluid line, calligraphy, and.... experiments with line not as line but as shape.”

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Helen Frankenthaler

Quote from MoMA Highlights, New York, The Museum of Modern Art, revised 2004, originally published in 1999, p. 219 http://www.moma.org/collection/object.php?object_id=78722
1990s - 2000s

“I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.”

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Helen Frankenthaler

Quote from Abstract Expressionism, Barbara Hess, Taschen Köln, 2006, p. 15
1990s - 2000s

“How many good male artists are there? The number of living artists I truly esteem I can put on one hand and I wouldn't even have to lift up all my fingers - and that breaks my heart.”

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Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.”

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Helen Frankenthaler

quote about her Bennington-years 1945-48
1960s, Interview with Barbara Rose', Archives - American Art, 1968

“Sometimes I wish I had more people to relate to and refer to and talk to, but there are very few artists whose work I want to see. It all makes for a kind of loneliness.”

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Helen Frankenthaler

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

“I have always been concerned with painting that simultaneously insists on a flat surface and then denies it.”

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Helen Frankenthaler

Quote from 'The collection', MOMA, online 1 http://www.moma.org/collection/object.php?object_id=80139
1990s - 2000s

“I find it hard living on my own, but I imagine I would find it difficult not living on my own. Perhaps I could still change my mind. That's everyone's drama. We all make different compromises. And, no, I don't regret not having children. Given my painting, children could have suffered. A mother must make her children come first: young children are helpless. Well, paintings are objects but they're also helpless.”

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Helen Frankenthaler

In 1958 (three years after breaking up with Greenberg, Frankenthaler married Robert Motherwell; their marriage ended in 1971.
1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989