《山海》海伦·弗兰肯萨勒(Helen Frankenthaler)高清作品欣赏

海伦·弗兰肯萨勒(Helen Frankenthaler)高清作品《山海》

作品名：山海

艺术家：海伦·弗兰肯萨勒

年代：1952

风格：抽象表现主义,抒情抽象

类型：抽象

介质：木炭,油画,帆布

尺寸：220 x 297.8 cm

最初与抽象表现主义有关，她的职业生涯是在1952与Mountains和海洋展览会上展开的。这幅画（灵感来自新斯科舍之旅）很大，7英尺乘10英尺，虽然是用油画的，但具有水彩画的效果。在这部作品中，她将绘画技巧直接引入了一幅未准备好的画布上，使材料吸收了色彩。她用松节油严重稀释油画颜料，使颜料浸入画布中。这种被称为“浸渍染色”的技术曾被杰克逊·波洛克（1912-1956）等人使用，并被其他艺术家，特别是莫里斯·路易斯（1912-1962）和肯尼斯·诺兰（1924-2010）采用，并启动了第二代色彩田园画派。这种方法有时会在涂有颜料的每个区域周围留下晕轮效应，但是缺点是颜料中的油最终会导致颜料变色和腐烂。

Title:Mountains and Sea

artist:Helen Frankenthaler

Date:1952

Style:Abstract Expressionism,Lyrical Abstraction

Genre:abstract

Media:charcoal,oil,canvas

Dimensions:220 x 297.8 cm

Initially associated with abstract expressionism, her career was launched in 1952 with the exhibition of Mountains and Sea. This painting (inspired by inspired by a trip to Nova Scotia) is large - measuring seven feet by ten feet - and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly onto an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine so that the color would soak into the canvas. This technique, known as "soak stain" was used by Jackson Pollock (1912–1956), and others; and was adopted by other artists notably Morris Louis (1912–1962), and Kenneth Noland (1924–2010), and launched the second generation of the Color Field school of painting. This method would sometimes leave the canvas with a halo effect around each area to which the paint was applied but has a disadvantage in that the oil in the paints will eventually cause the canvas to discolor and rot away.