Towards A New Climate

Helen Frankenthaler’s 1957 Breakthrough in Abstract Fluidity

The year 1957 marked a turning point for Helen Frankenthaler, as she refined her signature soak-stain technique—a method that would redefine abstract painting. Towards A New Climate emerged during this period of experimentation, where diluted oil paints bled into unprimed canvas, creating luminous fields of color that appeared to float rather than sit atop the surface. Unlike the dense, gestural brushwork of her Abstract Expressionist peers, Frankenthaler’s approach emphasized transparency and spontaneity, a quality the Museum of Modern Art later described as “a radical departure from the machismo of action painting.”

This work belongs to Frankenthaler’s transitional phase between her early stained canvases and the more structured compositions of the 1960s. The title itself—Towards A New Climate—hints at both environmental and artistic renewal, a theme that resonated in post-war America as painters sought to break from European traditions. The painting’s expansive blues and greens, punctuated by bursts of ochre, evoke a landscape without literal representation, a hallmark of Frankenthaler’s ability to suggest depth through pure abstraction. Critics at the time noted how her work “dissolved the barrier between painting and atmosphere,” a quality that remains palpable in this 30×40 cm framed print.

Frankenthaler’s Role in the “Second Generation” of Abstract Expressionism

By 1957, Helen Frankenthaler had already cemented her place alongside artists like Morris Louis and Kenneth Noland, who adopted and adapted her stain technique. What set her apart, however, was her refusal to adhere to rigid geometric forms. While Louis and Noland pursued systematic repetitions of shape, Frankenthaler’s compositions—Towards A New Climate included—retained an organic unpredictability. The Tate observes that her method “allowed color to exist as light itself,” a quality evident in the way the blues in this work seem to glow from within.

This period also saw Frankenthaler engaging with the natural world more explicitly than her earlier works. The title’s climatic reference aligns with a broader shift in her oeuvre, where abstract forms began to evoke landscapes, skies, and even weather patterns. Unlike the turbulent emotionalism of Pollock or the mythic grandeur of Rothko, Frankenthaler’s 1957 works offered a quieter, more meditative abstraction—one that invited viewers to project their own interpretations onto the canvas. As art historian Barbara Rose later wrote, her paintings “do not impose meaning; they propose it.”

Frankenthaler’s 1957 works like Towards A New Climate reveal her genius for balancing control and chance—a tension that defines the very best of Abstract Expressionism.

The Alchemy of Stain and Surface

Composition: The Illusion of Depth

Frankenthaler achieved Towards A New Climate’s spatial ambiguity by layering thinned oil paints onto raw, unprimed canvas. The largest blue field—applied first—serves as the foundation, while the ochre and green accents were added subsequently, their edges bleeding into the wet underlayer. This method created a sense of depth without traditional perspective, a technique the National Gallery of Art has compared to “painting with light.”

Color: The Psychology of Hue

The dominant ultramarine blue was mixed with a touch of viridian, a combination Frankenthaler often used to evoke both sky and water. The ochre accents, applied more opaquely, provide visual punctuation, their earthy tone grounding the composition. Unlike her earlier works, where color fields often floated independently, here the hues interact dynamically, their edges softening where they meet—an effect amplified in this 12×16" framed print’s precise reproduction.

Displaying Towards A New Climate in Modern Interiors

This 30×40 cm print thrives in spaces that balance minimalism with warmth. The dominant blues pair effortlessly with soft gray walls or crisp white backdrops, while the ochre accents allow for earth-toned furnishings—think linen sofas or walnut wood tables. For maximal impact, position the print at eye level in a well-lit hallway or above a console table, where its luminous qualities can be fully appreciated. Avoid overly busy surroundings; Frankenthaler’s work demands breathing room to reveal its subtleties. In a home office, the painting’s climatic title takes on new resonance, offering a visual counterpoint to digital screens.

More Works by Helen Frankenthaler

Explore Frankenthaler’s evolution through these key pieces from different decades of her career.

Helen Frankenthaler

Chill Factor

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Helen Frankenthaler

Abstract Landscape

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Helen Frankenthaler

Star Gazing

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Helen Frankenthaler

Harvest Ii

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