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Further Information

Where Can I Purchase The Authors Work?

You can purchase Ninth Street Women at any of the online retailers listed below

Do You Have Any Readings Or Events Scheduled?

Ninth Street Women: Mary Gabriel in conversation with Deborah Solomon
WED, Oct 3, 2018
6:30 pm

Whitney Museum of American Art


Can I Read An Excerpt From The Book?

Of course! See below for a sample page.

26. The Deep End of Wonder

Creating a great painter is not only a question of being a great painter—it is a thing that is achieved by a number of factors working together for that end—Practically a miracle when it happens.
—Janice Biala'

HELEN FRANKENTHALER WALKED out of the elevator with Clem Greenberg and into the Betty Parsons Gall, to see Jackson's November exhibition. "Now you're on your own," Clem said, before heading back to Betty’s office. "Look around the show and tell me what you think of it." He left Helen in the midst of Pollock’s paintings, whole walls of explosions in color and line, vast depths of beckoning space, "the endless webbing"' of what one visitor likened to a meteor shower! Helen felt as though she had been "blinded, as if he had put me in the center ring of Madison Square Garden. ... It was so new, and so appealing, and so puzzling, and powerful, and real, and beautiful, and bewildering." One or two other people wandered through the gallery, but they were invisible to Helen, surrounded as she was by works so alive it was as if the dance Pollock had performed to create them continued still! "I was overwhelmed. His work simply seemed to resonate. It captured my eye and my whole psychic metabolism at a crucial moment in my life," she said. "I was ready for what his paintings gave me."

At twenty-one and a year out of Bennington, Helen had been searching for a way to release the gift she knew existed inside her. She believed she was capable of something big, something grand, something utterly original. Something like Pollok. It wasn't necessarily what he had done on canvas that inspired her that day but the fact that he had done it, that he had created something so new, his own universe, and that meant she could, too. "He opened the way for me and freed me to make my own mark," she said decades later, still remembering the exhilaration she experienced that day! “I mean, I wanted to live in this land, and I had to live there, but I just didn't know the language." Part revelation, part provocation, Helen called her initial encounter with Jackson's work "a beautiful trauma" that set her on a path of technical innovation and bold creation that would inspire others as he had inspired her!. Within a few years, her work would be seen as a bridge between Pollock and what was possible in his aftermath."

Can You Tell Me More About The Paintings Featured On This Website?

Lee Krasner, The Seasons, 1957. Oil and house paint on canvas, 92 ¾ by 203 7/8 inches (235.6 by 517.8 cm). The Whitney Museum of American Art, New York. Purchase with funds from Frances and Sydney Lewis by exchange, the Mrs. Percy Uris Purchase Fund and the Painting and Sculpture Committee, 87.7. Photography by Sheldan C. Collins. Copyright 2018 the Pollock-Krasner Foundation / Artists Rights Society (ARS), New York 
Elaine de Kooning, Juarez, 1958. Oil on Masonite, 35 ¾ by 47 7/8 inches (90.8 by 121.6 cm). Anonymous gift, 1983. The Solomon R. Guggenheim Foundation, New York. Photo credit the Solomon R. Guggenheim Foundation / Art Resource, New York. Copyright Elaine de Kooning Trust
Grace Hartigan, Interior, ‘The Creeks,’ 1957. Oil on Canvas, 90 7/16 by 96 ¼ inches (229.7 by 244.5 cm). The Baltimore Museum of Art; Gift of Philip Johnson, New Canaan, Connecticut, BMA 1983.45. Photograph by Mitro Hood, courtesy the Baltimore Museum of Art. Copyright Estate of Grace Hartigan
Joan Mitchell, City Landscape, 1955. Oil on canvas, 80 by 80 inches (203.2 by 203.2 cm). Collection of the Art Institute of Chicago; Gift of the Society for Contemporary American Art, 1958.193. Image courtesy the Art Institute of Chicago. Copyright Estate of Joan Mitchell
Trojan Gates, 1955, Helen Frankenthaler. Oil and enamel on sized, primed canvas, 72 by 48 7/8 inches (182.9 by 124.1 cm). The Museum of Modern Art, New York; Gift of Mr. and Mrs. Allan D. Emil 189.1956. Digital Image copyright the Museum of Modern Art / Licensed by SCALA / Art Resource, New York. Artwork copyright 2018 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York


© Copyright 2018 Mary Gabriel- All Rights Reserved