Top 28 Quotes & Sayings by Helen Frankenthaler

Explore popular quotes and sayings by an American artist Helen Frankenthaler.
Last updated on April 14, 2025.
Helen Frankenthaler

Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades, she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.

A really good picture looks as if it's happened at once. It's an immediate image.
You have to know how to use the accident, how to recognise it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.
We would sift through every inch of what it was that worked, or if it didn't, and wonder what was effective in it, in terms of paint, the subject matter, the size, the drawing.
The landscapes were in my arms as I did it. — © Helen Frankenthaler
The landscapes were in my arms as I did it.
The question of sex will take care of itself.
One really beautiful wrist motion, that is synchronised with your head and heart, and you have it. It looks as if it were born in a minute.
I wanted things that I couldn't at times articulate.
There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.
Whatever the medium, there is the difficulty, challenge, fascination and often productive clumsiness of learning a new method: the wonderful puzzles and problems of translating with new materials.
I have always been concerned with painting that simultaneously insists on a flat surface and then denies it.
Every canvas is a journey all its own.
I've explored a variety of directions and themes over the years. But I think in my painting you can see the signature of one artist, the work of one wrist.
In relations with people, as in art, if you always stick to style, manners, and what will work, and you're never caught off guard, then some beautiful experiences never happen.
There are no rules. Let the picture lead you where it must go.
One really beautiful wrist motion, that is synchronized with your head and heart, and you have it. It looks as if it were born in a minute.
I'd rather risk an ugly surprise than rely on things I know I can do.
What has made it work, or what makes certain paintings successful or not, has to do with my being a painter and a thinking, feeling person, more than my sex, color, height, origin.
I had the landscape in my arms as I painted it. I had the landscape in my mind and shoulder and wrist.
There are many accidents that are nothing but accidents-and forget it. But there are some that were brought about only because you are the person you are... you have the wherewithal, intelligence, and energy to recognize it and do something with it.
I don't resent being a female painter. I don't exploit it. I paint.
I don't start with a color order, but find the colors as I go.
A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it as well - she did this and then she did that; there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.
I follow the rules until I go against them all. — © Helen Frankenthaler
I follow the rules until I go against them all.
What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?
The price for living the life I have -- for any serious, devoted person, is that at times one must live alone, or feel alone. I think loneliness is associated in many people's minds when they think about success.
Art has a will of its own. It has nothing to do with the taste of the moment or what's expected of you. That's a formula for dead art, or fashionable art.
A picture that is beautiful, or that comes off, or that works, looks as if it was all made at one stroke.
Every so often every artist feels, 'I'll never paint again. The muse has gone out the window.' In 1985, I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.
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