Helen Frankenthaler “Postcardisms”
Print
Painter Helen Frankenthaler was known for her personal and spirited postcard correspondence with family and friends, described by her as “postcardisms.” Found in the Helen Frankenthaler Foundation Archives is a volley of incoming and outgoing postcards between Frankenthaler and Jock Truman, Betty Parsons Gallery Director from 1961 – 1974, written between the mid-1960s and the early 1970s, which document their light-hearted and personal exchanges.
While Frankenthaler often sent postcards to Truman picturing buildings or cityscapes, he preferred vintage postcards from the turn of the century. Along with a group of vintage leather postcards, he sent a note reading: “Dear Favorite Painter: Good luck, love & kisses, an admirer, ’66 Truman.”
Delighted by the leather postcards, Frankenthaler responded with an update on life at her home on East 94th Street:
June 1st [1967]. Jock dear – How’s this for openers? Thank you for your face in the crowd yesterday. Right now, it’s 8 a.m. and I’ve just watered new shrubs in the garden and am having my “Special K” while the new poodle “Martell” lies at my feet with a bone. (Hardly a scene for the Divine Sarah).* But spring! And soon to my Provincetown studio, and the Bay. I tremble at the thought of your leather card. love x – Helen.
Generally, we send postcards while on vacation or away from home, but on these occasions, both Frankenthaler and Truman were writing from New York, enjoying staying in touch via postcardisms.
* Sarah Bernhardt, silent movie actress, pictured on the opposite side of the postcard.
Verbatim is sponsored by the Richard Pousette-Dart Foundation.
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Helen Frankenthaler (1928 – 2011) had a long and prolific career that spanned more than five decades. She was especially prominent from the 1960s through the 1980s, with a powerful presence as one of the key artists of her generation working in an abstract mode. However, by the 1990s her work’s significance to and interest for then-current artistic discourse was waning. While she continued to be active into the early 2000s and was especially productive in the area of printmaking late in her career, at the time of her death her presence in the art world and influence on younger artists was little noted.
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