On display now at London’s Dulwich Picture Gallery ✨
was just 23 when she was thrust into the centre of the New York art scene. It was the autumn of 1952, and the Manhattan-born painter had debuted her now-renowned oil paintingan abstract amalgamation of colour inspired by the seaswept cliffs of Nova Scotia. The work was a trailblazing debut for Frankenthaler, and instantly placed her at the forefront of America‘s abstract expressionist movement.
A varied and formidable career would unfold over the next six decades. During that time, Frankenthaler became known for her paintings of vast amorphic landscapes, created with fluid colour washes and illusory shapes. The compositions were defined by their sense of effortless spontaneity – an aesthetic signature the artist would come to be known for, despite her careful and controlled methods. “A really good picture looks as if it’s happened at once,” Frankenthaler once said.
Frankenthaler’s woodcutting is the subject of a new exhibition at the Dulwich Picture Gallery, which opens today. The show, titled, comes ten years after the artist’s death, and is her first major print retrospective to be shown in the UK. “I was just really passionate about this story and this collection of work,” says Findlay, who curated the exhibit. “The woodcuts are really unknown in this country, so I really wanted to bring them to a UK audience for the first time.
Findlay also hopes that the show will introduce a new generation to Frankenthaler’s “exceptional” work. Although celebrated in her lifetime, her success was partly disrupted by her gender, with some 20th-century critics dismissing her art as too feminine, decorative and twee. For Findlay, this show is an opportunity to overwrite this past, but also to celebrate the underlying power of Frankenthaler’s aesthetically pleasing approach.
Belgique Dernières Nouvelles, Belgique Actualités
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