Exhibition in the Museum Reinhard Ernst to Helen Frankenthaler

Helen Frankenthaler was undoubtedly the most important and best -known abstract expressionist of the United States alongside Lee Krasner. No painter in front of her and after her, basically incompatible colors put in harmoniously fluid side by side.

In addition, as an inventor of the “Soak Stained” technique-she may be a colored screen of the unclassed canvas to produce paradoxical flat-deep image zones-and one of the founders of color field painting. What should have long been put into perspective. Not only was Frankenthaler’s Jewish mother Martha born in Wiesbaden-Igstadt, a few kilometers from the current place of the largest exhibition in Germany for almost thirty years in the previous year of Reinhard (MRE), so that Helen already took up a shaking measure of old Europe. Painter career encouraged, comes from the tranquil town of Weißenburg in Franconia, and even more important influence-the pioneer of the apparently primal American color field painting-Joseph Albers with his serial homage at flat-pushed squares, born born should the genealogy? Especially in the often Europe and European art history as well as its avant -garde of early modernity as an indispensable basis for their own work, Helen Frankenthaler is essential for the deeper understanding of their work to point out the roots of post -war modernism on the old continent and the central mediator role of the emigrants. Extremely remarkable Wiesbaden exhibition from behind and takes this to the five halls with a total of 32 Frankenthalers (from 50 in the possession of the museum) preceded quote as a motto seriously, it is that in the penultimate hall “You never give anything out of the past”, which is never necessary to the cliché of the American zero and complete anniversaries. Cave paintings by Altamira and Lascaux in “Cave Memory” from 1959 – like Frankenthaler’s pictures on unknown canvas, are also drawn on a non -prepared rock underground – and the conscious connection to large models in the monumental landscape “For Hiroshige” from 1981, the Japanese artist Utagawa is more unreserved than Master of the graphic from the first half of the 19th century, of which Frankenthaler owned one of the most charming color wood cuts from the series “Hundred famous views by Edo”. However, while Hiroshigen, however, cheeks the viewer look cheeky on the butt of a dark red -brown horse with gold -tied hooves, Frankenthaler takes over only three of the hooves in a very enlarged form from the graphic, mixes the dark brown of the horse with the gold glossy hooves to a beige and leaves the whole thing in a green fund, not without a strong red ribbon with the racel To pull – interestingly one year after Gerhard Richter invented the abstract squeegee images in 1980. Color as a material and the relief to be scanned with the eyes meets soac-stained hooves, the unknown canvas. In their early port picture, the sails of the ships are still to be recognized. Panorama. There are Frankenthal’s early painting “Provincetown Harbor” from 1950 (a port view with semi-offstracts in a wild mix of a bad Kandinsky and Feininger-Schifflein) and “The Bay” from 1957 in the immediate vicinity of their teacher Hans Hofmann (with “The Hedge”, as Frankenthaler’s “harbor” also in Provincetown Created, which shows a completely different abstract and penetrating hedge made of pastosest color scurried, but a similar setting of the point and line to the area such as the composition of the “Provincetown” image) and the mentor Adolph Gottlieb with the ball picture “Two Bars”, whose flat circle quotes in her homage “Green Moon”. Dzubas (also Hofmann-Schüler with the monumental “Argonaut”), Lee Krasner in the secondary hall as a wife of the Frankenthaler friend Jackson Pollock and Kenneth Noland as well as pictures of the partner for at least thirteen years, Robert Motherwell. In addition, the spirit of her mentor and temporary partner Clement Greenberg, the most important art critic of the United States and inventor of the flatness, hence the area painting, but also the exhibition title “Move and Make”, “Moving and making” instead of remaining – is more than justified, especially in the imposing “tower room” of the house with his Pyramidal dome, called cathedral internally. “There is no, always’. No formula. There are no rules. Let the picture lead you to where it has to go, ”says the large formats and emphasizes Frankenthaler credo of the artist’s will to change over fifty years, but also the gently controlled loss of control. Where many abstracts at that time, as a post -pubescent gesture of the alleged indomitability, steered their pictures more and more deliberately, Frankenthaler controlled it with a beauty offensive. How beautiful is “Barcelona” their most beautiful color ever is “Barcelona” from 1987. As in “Palestrina” and “Fenice”, the picture or the composer can already shine here In the case of “Barcelona” the big city and cultural metropolis with an integrated bathing beach, the earwig Freddie Mercurys and Montserrat Caballés or a tribute to Gaudí and Miró. She pours the strongly diluted color in long lanes, just as she needs. And how often with her (for example in “Sea Level”, which despite the title brings the rather horizontal sea into the vertical), it is a subsequent transition that is subsequently tilted, which is the flowing transition from sand -colored beach, brownish mountains/sea and green horizon into the portrait format abstract. In addition to the fluid zone of the green-brown, she uses pearl-gloss color, which would have simply caused kitsch in the vast majority of painters, but only reinforces the aesthetics of the picture. All flows in the painting of the passionate swimmer, who, due to the early success, has several houses with a dreamlike sea and sea view and the moist element mixed in their colors. Like Pollock, she stood on the floor in the middle of the rolled -up canvases and poured the color into white as a nose. On Frankenthaler’s portrait format “Lunar Avenue” from 1975, three color fountains hissed high in the white primed picture space and far beyond in the real. And on “Spanning” from 1971, four of the edges also drift four of the edges with a restless bank contour in a tense up to the outside of the image and into the empty sea of ​​the picture, where it is torn inside and into the empty sea. And just keep colorful threads together. If you remember that in the year of the picture of the picture, her marriage diverge with Motherwell, once again the narrow Nexus is shown out of felt color and flow. Helen Frankenthaler. Move and make. Museum Reinhard Ernst Wiesbaden; until September 28th. The catalog costs 29.90 euros.

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