After all, when Motherwell made his trip to Mexico with Roberto Matta in 1941, where the first major exposition of Surrealism was taking place, Frankenthaler was 12 years old, a student at Dalton School, where she would be influenced by Rufino Tamayo. Then she populated that space with various shapes. Despite the obvious differences in their work – and in the way they made their work – the two painters shared fundamental convictions: that their art sprang from internal imperatives, that the painter’s role was to reveal the unseen, not to report on the visible, that gesture and color were potent carriers of emotion, that the art of the present was seamlessly connected to the art of the past, and more.
While Frankenthaler is shown evolving, Motherwell’s work in 1958 is fully formed. But it is Frankenthaler's evolution that is the more fascinating, perhaps because it seems more entirely a matter of her personal will, while Motherwell's development seems to be more a matter of his understanding the relationships between his intellect and influences, his experience and his artistic expression. They were almost certainly aware of each other’s work, since even though they had never really connected, they had traveled in the same aesthetic circles. Helen Frankenthaler and Robert Motherwell were married from 1958 to 1971.
Renowned critic and art historian of the New York School Karen Wilkin is thanked in the catalogue accompanying this exhibition, for which she has written the main essay, for instigating the project. Was it because he'd already been married twice and knew that even marriages seemingly made in heaven like this one can have an expiration date? Her look is all love; Motherwell, averting his gaze from Namuth, has a vacant, slightly ironic expression. We first encounter a small, 12 × 8 inch mixed-media-on-paper piece by Frankenthaler.
Motherwell's resources for self-education, mutual aid, and ongoing action in the struggle for racial justice Both were formed, established artists, with highly individual ways of making art, at the time of their whirlwind courtship, which began at the end of 1957. We stand in solidarity with the uprising unfolding across the country following the murders of George Floyd, Breonna Taylor, Tony McDade, Nina Pop, Jamel Floyd, and those affected by generations of structural violence against Black communities. Helen Frankenthaler and Robert Motherwell were married from 1958 to 1971. Motherwell, forty-two when their romance began, was the youngest of the First Generation Abstract Expressionists, but one of the most distinguished, connected with the Surrealists, a veteran of Peggy Guggenheim’s gallery, known as a writer and translator, as well as a painter, and someone whose work Frankenthaler admired.
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