Page 23 - Studio International - August 1965
P. 23

exclude  the  possibility  of  sharpness,  anger,  satire.   ton  College,  who painstakingly instilled the  principles
                                  Lyricism merely expresses a concentrated need to bring  of cubism.  Yet,  her first memory of awe in the face of
                                  to  light  deeply  felt  emotion  with  least  interference.   painting was of Dali's melting watches in the Museum
                                   In this sense,  Frankenthaler's is a  consistently lyrical  of  Modern  Art.  And,  while  still  at  college,  she  was
                                  voice.  She has for many years  sought to displace the  attracted to Kandinsky and Gorky.  She had learned the
                                  urgency  of  emotion  by means  of intense  work-work  rigours of cubism well, but they could not hold her.
                                  that offers a vivid, highly personal symbolisation of the   It was not too difficult for  Frankenthaler to make the
                                  kinds of experience that move her.                transition from a small liberal college, where both the
                                   Even in her initial choices Frankenthaler expressed her  practise  and  theory  of  the  arts  were  under  constant
                                  lyrical temperament.  She was trained well. first in high  discussion,  to  the  New  York  milieu  where  the  artists'
                                  school  by  Rufino  Tamayo who taught her techniques  club was in full  action;  where  Pollock had become a
                                  and  was  the  first,  as  she  says,  to  make  her  see  that  hero;  where  the big  conversation  was  about abstract
                                  painting could be a life; later by Paul Feeley, at Benning-  expressionism.  Her  reaction  to  Pollock's 1951  exhibi-
   18   19   20   21   22   23   24   25   26   27   28