Henceforth Frankenthaler would allude to places— The disparity is insignificant, because the development of each artist's personal style is fully on view here, and neither possesses the lion's share of wall space. Was it because he'd already been married twice and knew that even marriages seemingly made in heaven like this one can have an expiration date? We first encounter a small, 12 × 8 inch mixed-media-on-paper piece by Frankenthaler.
The cover photograph for the informative catalogue that accompanies this dazzling show was taken by Hans Namuth and catches Robert Motherwell and Helen Frankenthaler at their wedding lunch on April 6, 1958.
With a catalogue essay by our own Karen Wilkin, the exhibition considers the symbiotic aesthetic relationship between Motherwell and Frankenthaler—how the marriage might have influenced the paintings—even as both remained resolutely independent artists at the heights of their powers. Renowned critic and art historian of the New York School Karen Wilkin is thanked in the catalogue accompanying this exhibition, for which she has written the main essay, for instigating the project.
But it is Frankenthaler's evolution that is the more fascinating, perhaps because it seems more entirely a matter of her personal will, while Motherwell's development seems to be more a matter of his understanding the relationships between his intellect and influences, his experience and his artistic expression. Despite the obvious differences in their work – and in the way they made their work – the two painters shared fundamental convictions: that their art sprang from internal imperatives, that the painter’s role was to reveal the unseen, not to report on the visible, that gesture and color were potent carriers of emotion, that the art of the present was seamlessly connected to the art of the past, and more. But it is Frankenthaler's evolution that is the more fascinating, perhaps because it seems more entirely a matter of her personal will, while Motherwell's development seems to be more a matter of his understanding the relationships between his intellect and influences, his experience and his artistic expression. Her look is all love; Motherwell, averting his gaze from Namuth, has a vacant, slightly ironic expression. Helen Frankenthaler and Robert Motherwell were married from 1958 to 1971.
Two of the Phillips’s most cherished Abstract Expressionist artists, Helen Frankenthaler and Robert Motherwell, shared more than a style of painting: they were also married from 1958 to 1971. Of the 29 works included in the show, 16 are by Motherwell and 13 by Frankenthaler. Motherwell, forty-two when their romance began, was the youngest of the First Generation Abstract Expressionists, but one of the most distinguished, connected with the Surrealists, a veteran of Peggy Guggenheim’s gallery, known as a writer and translator, as well as a painter, and someone whose work Frankenthaler admired. This exhibition of two twentieth-century titans is not to be missed.
Both Motherwell and Frankenthaler indulged in collage and in doing so produced some of their wittiest and downright funny work. After all, when Motherwell made his trip to Mexico with Roberto Matta in 1941, where the first major exposition of Surrealism was taking place, Frankenthaler was 12 years old, a student at Dalton School, where she would be influenced by Rufino Tamayo. On August 4, the exhibition “Abstract Climates: Helen Frankenthaler in Provincetown” will go on view at the Parrish Art Museum in Water Mill, New York, featuring paintings, photographs, and archival materials from a period when Frankenthaler and her then husband, painter Robert Motherwell, would head to Provincetown for the summer.
Both were formed, established artists, with highly individual ways of making art, at the time of their whirlwind courtship, which began at the end of 1957.
While Frankenthaler is shown evolving, Motherwell’s work in 1958 is fully formed. Both were formed, established artists, with highly individual ways of making art, at the time of their whirlwind courtship, which began at the end of 1957.
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