Her look is all love; Motherwell, averting his gaze from Namuth, has a vacant, slightly ironic expression. 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. With a catalogue essay by our own Karen Wilkin, the exhibition considers the symbiotic aesthetic relationship between Motherwell and Frankenthaler—how the marriage might have influenced the paintings—even as both remained resolutely independent artists at the heights of their powers. Two of the Phillips’s most cherished Abstract Expressionist artists, Helen Frankenthaler and Robert Motherwell, shared more than a style of painting: they were also 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. While Frankenthaler is shown evolving, Motherwell’s work in 1958 is fully formed.
Frankenthaler, who had just turned twenty-nine, was a rising star whose work was increasingly attracting attention and even beginning to influence older artists. 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. 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. The small drawing would seem to be a farewell to representation. This exhibition of two twentieth-century titans is not to be missed. The disparity is insignificant, because the development of each artist's personal style is fully on view here, and neither possesses the lion's share of wall space. Now, this marriage is itself the subject of an exhibition, at the Upper East Side’s Mnuchin Gallery. Motherwell's resources for self-education, mutual aid, and ongoing action in the struggle for racial justice Of the 29 works included in the show, 16 are by Motherwell and 13 by Frankenthaler.
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