Jean-Marie Mengue (French, 1855-1939) La Source MusƩe des Beaux-Arts de Bordeaux
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Jean-Marie Mengue (French, 1855-1939) La Source MusƩe des Beaux-Arts de Bordeaux

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Etruscan kylix with two naked youths facing each other in front of a tree. The one on the left holds a wreath in his right hand and grasps the trunk of the tree in his left. The one on the right holds a wreath up in his right hand and a club in his left
400 - 300 BCE
Harvard Art Museum 2007.104.2
Alan Spazzali

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Horatio CoclĆØs Saving Himself by Swimming. 16th century. Credit line: Purchase, Joseph Pulitzer Bequest, 1917 https://www.metmuseum.org/art/collection/search/383482
Gustav Klimt, The Beethoven Frieze 1902
Gustav Klimt (1862 - 1918)
An Allegory of Virtue
Artist: Unknown; Attributed to: Correggio (Antonio Allegri) (Italian, c. 1489-1534)
Date: c. 1550-1560
Medium: Oil on panel
Collection: National Galleries of Scotland, Edinburgh, Scotland
Giovanni Giacometti
Giovanni Giacometti (1868 - 1933)

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Giovanni Giacometti (1868-1933, Swiss) ~ Sommermorgen/Mattino d'estate, 1917
[Source: Sotheby's]
Elephant figure. Hountondji guild artists, Benin, 19th Century.
The Metropolitan Museum of Art.
Helen Frankenthalerās Late Works
Today weāre highlighting images collected in Helen Frankenthaler: Late Works, 1988-2009 published in 2022 by Santa Feās Radius Books. The book developed alongside a traveling exhibit of Frankenthalerās later work organized by the Helen Frankenthaler Foundation, and features writing by Elizabeth Smith, Suzanne Boorsch, and Douglas Dreishpoon, the director and editor of the ongoing Frankenthaler Catalogue RaisonnĆ©. Our copy comes to us as a gift of Radius Books.
Helen Frankenthaler (1928-2011) was a major post-war abstract expressionist painter. She developed the soak-stain technique and was known for her large-scale paintings, and work that seemed spontaneous and whole ā regardless of process. In a lecture at the Palm Springs Art Museum in 1996, Frankenthaler details this process:
I seem to have consistently been involved in two approaches to my work. One is an immediate gesture in which my wrist seems to know exactly where to go, where to place what, when, in which color, when to stop. It is an economical vocabulary, a shorthand. The other is far more labored, worked-intoā¦. In either case, any beautiful picture to me looks as if itās been born at once, regardless of how many hours, or weeks, or years it took to make it.
Frankenthaler remained dynamic in her work over six decades. She continued to develop mastery of forms. As Boorsch explains in an essay on Frankenthalerās prints, her late works āsurpassā the output of her previous three decades āin size, in complexity, in audacious innovation, and in powerful effect.ā
--Amanda, Special Collections Graduate Intern
See more posts about spectacular work from Radius Books!
Roman relief-carving of horse-tamer from Hadrian's Villa AD 117-150 marble British Museum
Roman Empire Bust of Germanicus (nephew and heir of Tiberius) AD 20-40 marble Getty Museum, Los Angeles

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Ancient Roman Culture Peplophore 1st century BC-1st century AD marble Musées d'Art et d'Histoire, Genève