Word: helene
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Dates: during 1960-1969
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Greenberg encouraged Helen in her habit of tearing up canvases that were too easy or familiar. His critical mark is best symbolized today not in the myriad lilting forms and colors that she puts upon her canvas, but in the ones she leaves out. Her work incorporates empty spaces that are often more forceful and outspoken than the painted ones. In The Human Edge, for example, the real Frankenthaler is to be found-not in the weighty banner forms that hang down from the top, but in the horizontal rectangle of white that lies beneath and behind them.The whole picture...
They live in a handsomely renovated town house in the East 90s, with "his" and "her" paintings on either side of the fireplace. Never has Helen Frankenthaler painted more surely and decisively than she does at her two current studios, one over a hardware store on Third Avenue, the other in the woods near Provincetown, on Cape Cod. The Motherwells go to Provincetown in the summer, to be joined by Motherwell's two daughters by a previous marriage, Jeannie, 16, and Lise, 14. The landscapes done on Cape Cod sing with the oceanic blues, yellow sands, the faded greens...
...flamelike, almost scarifying vitality leaps forth from Interior Landscape, twisting savagely sidewise, up and around. Only the deliberately faded grays and greens, and the firm blue square in the middle, keep the painting from dissolving into a chaos of raw emotion. Still, any really good abstract painting, Helen argues, "plays on your emotional gut. It gets to you, and many people would just as soon leave that dimension alone. I think, in a way, a painting is a flat head-on confrontation, the same kind of thing that happens when you go to a concert and either you fall asleep...
Steel Blue. There is a monumentally unsettling force in Helen Frankenthaler's Blue Head-On. At the same time, a steely discipline is built into the picture. After years of developing her eye, she has found that many pictures normally "work" better with darker colors at the top. A sedate, woodsy green thus sets a lid on the upward rushing blue genie. Helen Frankenthaler is not interested in emotions for their own sake. Despite the modernity of her style, she is an heiress to a tradition that reaches back beyond Pollock; she uses themes as a kind of reality...
Hadrian VII--Alec McCowen's performance as a neurotic-intellectual-homosexual who dreams he becomes Pope is every bit as great as everyone says it is. Peter Luke's script is solid, entertaining, and happily devoid of philosophical pretentiousness. At the HELEN HAYES, W. 46th...