Helen Frankenthaler, ‘Trial Premonition I/III’, 1974-1975, Susan Sheehan Gallery
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Trial Premonition I/III, 1974-1975

Woodcut
32 × 27 in
81.3 × 68.6 cm
This is part of a limited edition set.
$50,000 - 75,000
Location
New York
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
About the work
Bibliography
Susan Sheehan Gallery
New York

Sheet size: 32 x 27 inches
Framed size: 40 1/4 x 35 1/4 inches
Printer: ULAE, West Islip, New York

Medium
Print
Condition
Excellent
Signature
Hand-signed by artist, Signed, dated, and numbered in pencil, lower margin
Frame
Included
Publisher
ULAE, West Islip, New York
Price ranges of medium-sized prints by Helen Frankenthaler
Learn more
More info
Browse works in this category
$20,000+
This work
$0
$21,000+
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.

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Helen Frankenthaler, ‘Trial Premonition I/III’, 1974-1975, Susan Sheehan Gallery
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Save
Save
View
View in room
Share
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About the work
Bibliography
Susan Sheehan Gallery
New York

Sheet size: 32 x 27 inches
Framed size: 40 1/4 x 35 1/4 inches
Printer: ULAE, West Islip, New York
Publisher: ULAE, West Islip, New York
Catalogue raisonne: Abrams 50
Edition size: 3
Signed, dated, and numbered in pencil, lower margin

Medium
Print
Condition
Excellent
Signature
Hand-signed by artist, Signed, dated, and numbered in pencil, lower margin
Frame
Included
Publisher
ULAE, West Islip, New York
Price ranges of medium-sized prints by Helen Frankenthaler
Learn more
More info
Browse works in this category
$20,000+
This work
$0
$21,000+
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.

Trial Premonition I/III, 1974-1975

Woodcut
32 × 27 in
81.3 × 68.6 cm
This is part of a limited edition set.
$50,000 - 75,000
Location
New York
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
Series by this artist
Other works from Post-War Masters
Other works by Helen Frankenthaler
Other works from Susan Sheehan Gallery
Related works
Most Similar
Abstract Expressionism