Original serigraph on paper
- Published by Multiples Inc. New York
- From " What Red Lines Can Do" Portfolio
- In excellent condition
- Hand signed by Frankenthaler
Helen Frankenthaler's Untitled (What Red Lines Can Do) (1970) is a minimalist serigraph that exemplifies her exploration of color, form, and negative space. The composition features fluid, organic lines in red, green, and ochre, which converge and spread across the lower half of the print, leaving much of the canvas as an open expanse. The subtle blending and interaction of colors create a sense of movement and balance, reflecting Frankenthaler’s signature style of abstract expressionism. The simplicity of the design invites contemplation, highlighting her ability to convey emotion and dynamism with minimal elements. This print, hand-signed and published by Multiples Inc., is part of the What Red Lines Can Do portfolio, showcasing Frankenthaler’s mastery in translating painterly techniques into print form.
Helen Frankenthaler (USA, 1928–2011) was a leading abstract painter and a pioneer of the Color Field movement. Known for her innovative 'soak-stain' technique, she applied diluted paint directly onto unprimed canvases, creating luminous, fluid compositions that redefined modern abstraction.
SerigraphSerigraph is a printmaking process that uses silk screen techniques to create an image. The image is digitally separated into individual colors, each of which is assigned to a separate silk screen. These screens are then used to apply each color by hand, layer by layer, to replicate the original artwork, often based on an oil painting.
Original serigraph on paper
- Published by Multiples Inc. New York
- From " What Red Lines Can Do" Portfolio
- In excellent condition
- Hand signed by Frankenthaler
Helen Frankenthaler's Untitled (What Red Lines Can Do) (1970) is a minimalist serigraph that exemplifies her exploration of color, form, and negative space. The composition features fluid, organic lines in red, green, and ochre, which converge and spread across the lower half of the print, leaving much of the canvas as an open expanse. The subtle blending and interaction of colors create a sense of movement and balance, reflecting Frankenthaler’s signature style of abstract expressionism. The simplicity of the design invites contemplation, highlighting her ability to convey emotion and dynamism with minimal elements. This print, hand-signed and published by Multiples Inc., is part of the What Red Lines Can Do portfolio, showcasing Frankenthaler’s mastery in translating painterly techniques into print form.
Helen Frankenthaler (USA, 1928–2011) was a leading abstract painter and a pioneer of the Color Field movement. Known for her innovative 'soak-stain' technique, she applied diluted paint directly onto unprimed canvases, creating luminous, fluid compositions that redefined modern abstraction.
A really good picture looks as if it's happened at once. It's an immediate image.
- Helen Frankenthaler
Initially creating in the style of abstract expressionism before going on to pioneer the Colour Field movement, Helen Frankenthaler was an iconic, highly influential artist with work spanning across the mediums of painting, sculpture and printmaking. Frankenthaler was initially recognised for her colour-stain technique – the practice of applying heavily diluted oil paint onto an unprimed canvas that had been lay flat on the floor; the practice of laying the canvas flat was inspired by Jackson Pollock. Frankenthaler drew a lot of her inspiration from nature – her works would analyse natural forms and recreate them on the canvas – this, as well as the technique of laying the canvas flat, is exemplified in her most notable painting, Mountains and Sea. Asides from these paintings, Frankenthaler also received acclaim for her printmaking – Madame Butterfly is her most recognised print and was created with the use of 46 woodblocks and a range of 102 different colours. (Artist website)
Abstract art uses form, shape, line, and color to create a visual experience without attempting to represent external reality. The composition exists independently of the world's visual references, focusing on expressing ideas and emotions through non-representational means.