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"The staining of the paint, however, tends to distance and to disembody the images it creates so that, irrespective of their brightness, they seem strangely to be removed from the sharply practical world of real objects and events. Not as much objects as the shadows and echoes of objects, the images have onely the most precarious of identities as instruments of depiction. They are continually being returned, as we look at them, to the pigmented wetness from which they were created, whose own, independent beauty holds our attention certainly as much as what they seem to describe... Color beyond ordinary; an unconstructed freedom of composition; an open, breathing surface; absolute candor in its making and in its address to the spectator: all combine to tell of a benign and idyllic, if fragile, domain of innocence and pleasure." (J. Elderfield,Helen Frankenthaler, New York, 1989, p. 11).