HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969
HELEN FRANKENTHALER "MAUVE CORNER", 1969

HELEN FRANKENTHALER "MAUVE CORNER", 1969

$4,500

Helen Frankenthaler (1928-2011) is one of the most revered and influential abstract painters of the 20th century, in addition to being one of the most successful and collected female artists.

She was married to fellow painter Robert Motherwell from 1958-1971. During this period both artists produced some of their best works. They also immersed themselves in experimental printmaking. Frankenthaler worked with lithography, etchings, woodcuts and screenprints. 

We will confess that we are most interested in Helen Frankenthaler's works from the late 1960's and early 1970's - her compositions are less gestural, if not a touch restrained and her palettes more cohesive. Frankenthaler allows shapes or wisps of color, often saturated or uninterrupted, to be the dominant elements.  

"Variation I on Mauve Corner" evokes the era's most popular school of painting (Color Field) while anticipating the trends towards minimalism. A large mauve form, that evokes a body of water, or territory on a map, is contrasted with delicate touches of terracotta, evergreen and red. 

This is an iconic work by Frankenthaler from the late 1960's in an usually small edition size.  

This work can be found in the permanent collection of the MoMA (New York City). 

Questions about this piece? Contact us or call +1.844.440.4287

"Variation I on Mauve Corner"

Signed, titled numbered and dated '69 by the artist.

From an edition of 8

Lithograph

USA, 1969

25"H 20"W (work)

34.5"H 28.5"W (framed)

Very good condition.

Literature: Harrison 16