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Paris Review (Westwind), 1996

Offset Lithograph
47 × 36 in
119.4 × 91.4 cm
This is a non-editioned multiple.
$1,800
Ships from Long Island City, NY, US
Free shipping worldwide
location
Long Island City
Locked
Secure payment
Secure transactions by credit card through Stripe.
Learn more.
Have a question? Read our FAQ or ask a specialist.
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About the work
RoGallery
Long Island City
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Artist: Helen Frankenthaler (after), American (1928 - 2011)
Title: Paris Review (Westwind)
Year: 1996

Read more

Artist: Helen Frankenthaler (after), American (1928 - 2011)
Title: Paris Review (Westwind)
Year: 1996
Medium: Offset Lithograph on Wove Paper, printed signature
Size: 47 x 36 in. (119.38 x 91.44 cm)

Condition
Excellent
Signature
Signed in the plate
Certificate of authenticity
Not included
Frame
Not included
Price ranges of large prints by Helen Frankenthaler
Learn more
Browse works in this category
$1,500–$3,000
This work
$0
$31,500+
Helen Frankenthaler
American, 1928–2011
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A second-generation Abstract Expressionist painter, Helen Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Arshile Gorky, Willem de Kooning, and Jackson Pollock. She gained fame with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the ’60s. Her own canvases, however, often evoked elements of landscape or figuration in the shaping of their forms. “My pictures are full of climates, abstract climates,” she once said. “They're not nature per se, but a feeling.” From 1958 to 1971, she was married to fellow Abstract Expressionist Robert Motherwell, who, like Frankenthaler, worked in symbolic painted gestures—only her paintings were almost always visibly improvised from start to finish. As poet and critic Frank O’Hara wrote in 1960, “she is willing to risk everything on inspiration.” In addition to painting, Frankenthaler also made ceramics, welded steel sculptures, and set designs, but the related medium that most attracted her, and in which her achievement came the closest painting, was printmaking—especially the creation of woodcuts, hers counting among the greatest of contemporary works in that medium.

Save
Save
view
View in room
share
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Save
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view
View in room
share
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About the work
RoGallery
Long Island City
Follow

Artist: Helen Frankenthaler (after), American (1928 - 2011)
Title: Paris Review (Westwind)
Year: 1996

Read more

Artist: Helen Frankenthaler (after), American (1928 - 2011)
Title: Paris Review (Westwind)
Year: 1996
Medium: Offset Lithograph on Wove Paper, printed signature
Size: 47 x 36 in. (119.38 x 91.44 cm)

Condition
Excellent
Signature
Signed in the plate
Certificate of authenticity
Not included
Frame
Not included
Price ranges of large prints by Helen Frankenthaler
Learn more
Browse works in this category
$1,500–$3,000
This work
$0
$31,500+
Helen Frankenthaler
American, 1928–2011
Follow

A second-generation Abstract Expressionist painter, Helen Frankenthaler became active in the New York School of the 1950s, initially influenced by artists like Arshile Gorky, Willem de Kooning, and Jackson Pollock. She gained fame with her invention of the color-stain technique—applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the ’60s. Her own canvases, however, often evoked elements of landscape or figuration in the shaping of their forms. “My pictures are full of climates, abstract climates,” she once said. “They're not nature per se, but a feeling.” From 1958 to 1971, she was married to fellow Abstract Expressionist Robert Motherwell, who, like Frankenthaler, worked in symbolic painted gestures—only her paintings were almost always visibly improvised from start to finish. As poet and critic Frank O’Hara wrote in 1960, “she is willing to risk everything on inspiration.” In addition to painting, Frankenthaler also made ceramics, welded steel sculptures, and set designs, but the related medium that most attracted her, and in which her achievement came the closest painting, was printmaking—especially the creation of woodcuts, hers counting among the greatest of contemporary works in that medium.

Paris Review (Westwind), 1996

Offset Lithograph
47 × 36 in
119.4 × 91.4 cm
This is a non-editioned multiple.
$1,800
Ships from Long Island City, NY, US
Free shipping worldwide
location
Long Island City
Locked
Secure payment
Secure transactions by credit card through Stripe.
Learn more.
Have a question? Read our FAQ or ask a specialist.
Want to sell a work by this artist? Consign with Artsy.
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Other works from RoGallery
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Abstract Expressionism