<· radiant, related (blue and green), bleeding colors seem to reduce nature to its essence, creating the impression of a summer landscape. As the 1960s came an end, a new art to movement called Minimalism was gaining critical attention. Minimalist painters favored geometric shapes and reduced their completely abstract canvases to as few colors as ble. Frankenthaler's work also became simpler and more metric. The symmetry of its composition and the geometric quality of the painting on the Small's cover, Paradise, give it a sense of power and mystery. The title ..."Some days,the refers to a New York horizon line City nightclub that was pears completely, a favorite of many Flood and you get a glow of when she created (see pages pink and gray.The artists and writers of 8-9): In this enormous work, sky seems to fall into the time. But the intense hues and encapsulated (shapes within multiple waves of blurred, the water." shapes) squares that make up this work could also suggest an -Helen Frankenthaler solving pinks, reds, and oranges enclosed garden. A complementary green wall frames the appear to flow over the canvas. related red, pink, and purple hues that make up this abstract These rising layers of warm, garden of paradise. Even more "minimalist" is The Human Edge Frankenthaler's (above). The negative, white interior seems to be covered by two banner-like related color tints seem about to the frame. tangular shapes in this severe, geometric, hard-edged, representational work. wash over the cool, The Human Edge, 1967.A crylic on The artist was once again inspired by natural images tary blues and greens at the edge of canvas, x in.Everson 124 91 1/4 Museum of Art, Syracuse
<· radiant, related (blue and green), bleeding colors seem to reduce nature to its essence, creating the impression of a summer landscape. As the 1960s came to an end, a new art movement called Minimalism was gaining critical attention. Minimalist painters favored geometric shapes and reduced their completely abstract canvases to as few colors as ble. Frankenthaler's work also became simpler and more metric. The symmetry of its composition and the geometric quality of the painting on the cover, Small's Paradise, give it a sense of power and mystery. The title refers to a New York City nightclub that was a favorite of many artists and writers of the time. But the intense hues and encapsulated (shapes within shapes) squares that make up this work could also suggest an enclosed garden. A complementary green wall frames the related red, pink, and purple hues that make up this abstract garden of paradise. Even more "minimalist" is Frankenthaler's The Human Edge (above). The negative, when she created Flood (see pages 8-9): In this enormous work, multiple waves of blurred, solving pinks, reds, and oranges appear to flow over the canvas. These rising layers of warm, ..."Some days,the horizon line pears completely, and you get a glow of pink and gray.The sky seems to fall into the water." -Helen Frankenthaler white interior seems to be covered by two banner-like related color tints seem about to tangular shapes in this severe, geometric, hard-edged, representational work. The artist was once again inspired by natural images wash over the cool, tary blues and greens at the edge of the frame. The Human Edge, 1967.A crylic on canvas, 124 x 91 1/4 in.Everson Museum of Art, Syracuse