Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 2 of 2
Full-Text Articles in Arts and Humanities
Helen Frankenthaler’S Gravity, Michael Schreyach
Helen Frankenthaler’S Gravity, Michael Schreyach
Michael Schreyach
Helen Frankenthaler, like other painters of her generation, was compelled to come to terms with the technical and philosophical modes of Abstract Expressionism's gestural practice. Responding to Pollock's black-and-white paintings of 1951, she evolved a technique of staining raw, unsized canvas with thinned acrylic pigments that became her hallmark and a formative influence on many other painters, including Morris Louis and Kenneth Noland. The method yielded paintings whose images appeared indivisible from their canvas grounds because colors were soaked directly into the surface. Moreover, since the technique de-emphasized the touch of the artist, it potentially renounced Abstract Expressionism's painterly gesture.
Seeing Noland’S Feeling, Michael Schreyach
Seeing Noland’S Feeling, Michael Schreyach
Michael Schreyach
Kenneth Noland's paintings—whether his target-like compositions and their elliptical variations of the late 1950s and early 1960s; his midcareer chevrons, diamonds, and elongated horizontal bands; or his irregular polygon-shaped canvases of the 1970s—exhibit the artist's formal solutions to some notoriously difficult pictorial problems, specifically those generated by the complex interrelationships between shape and color.