This is a complete presentation on Paul Jenkins, Abstract Artist. THERE ARE MANY ACTUAL SLIDES FOR YOUR REVIEW IN THE PREVIEW. THIS IS YOUR BEST INDICATION OF PRODUCT QUALITY.
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Jenkins began calling his artworks "Phenomena," followed by word(s) that were more in tune with feelings or mysticism than with any reference to the actual form on the canvas. He also started calling himself an "abstract phenomenist" rather than the other phrases covering abstract painters (like abstract expressionist). Stuart Preston, art critic for the "The New York Times," in 1958, called his work, “Abstract Expressionist rococo.”
Not all of Jenkins' art criticism was unreservedly positive. In 2009, Roberta Smith reviewed his 1960s and ’70s works. She wrote for "The New York Times" that his paintings were, “more a popular idea of abstract art than the real thing; too gorgeous for their own good.” Helen Frankenthaler received similar criticism throughout her career, that she primarily painted “pretty pictures.”
The 1978 film, "An Unmarried Woman," featured actor Alan Bates playing a fictionalized version of Paul Jenkins.
Paul later recalled what he did to make Alan Bates a painter, “I made Alan mix the spectrum of colors to get a sense of fluidity and viscosity. I let him choose his colors—he was strongly drawn to vibrant orange—and I made him do throws of acrylic paint and water on the canvas. As we went along, what grew stronger was Bates’ concept of painting itself.”
Bates also had memories: “We had a lot of fun mucking about. You lose yourself in the technique. The kind of thing Jenkins produces looks so simple, but it comes from a very good mind and a very emotional soul. The man’s a genius, of course.”
Paul Jenkins and his art became more well known in America after the film’s release than any other thing he’d ever done for his art. No art exhibition of his even came close to making his work known as well as the film. That most women were now wild about Alan Bates as a “painter” didn’t hurt.