Jane Frank

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Jane Schenthal Frank (born Jane Babette Schenthal) was an American multidisciplinary artist known as a painter, sculptor, mixed media artist, illustrator, and textile artist.

In public collections including those of the Corcoran Gallery of Art, the Baltimore Museum of Art, and the Smithsonian American Art Museum, her landscape-like, mixed-media abstract paintings are included.

She worked with artists Hans Hofmann and Norman Carlberg.

The early years

Jane Frank (when she was still Jane Schenthal) attended the Maryland Institute of Arts and Sciences' initial artistic studies, earning a degree in commercial art and fashion illustration in 1935. She continued her education at the Parsons School of Applied Art in New York City (then called the New York School of Fine and Applied Art), which she attended in 1939. She also attended the New Theatre School in New York. After finishing her education, she began working in advertisement design and acting in summer stock theatre. According to the records, it's unclear if she worked in these fields when she was still in New York or just after returning to Baltimore. We do know, however, that she started painting seriously in 1940.

She wrote in a letter to Thomas Yoseloff that "prior to 1940, my entire background had been purely in commercial art" and that "young girl" had to "put behind me everything I had so carefully learned in the classrooms." She started a research into painting history and "went through a series of spatial interpretations" from cave painting to Renaissance, then focusing on Cézanne, Picasso, and De Kooning. "I was also worried about texture and heavy paint," she says.

She married Herman Benjamin Frank in 1941 after returning to Baltimore. Jane had been working as a commercial artist "for department stores and ad agencies," but "gave up her career in commercial art for marriage and a family," according to the biography (p. 16). She referred to her works as "Jane Frank," as if not containing a maiden name or middle initial. Her husband, a builder, built their house, including a studio for his wife. Jane Frank returned to painting in 1947, with the first demands of a new marriage and family alliance evidently beginning to relax a bit (according to Stanton, p. 9).

The young mother also illustrated three children's books in the following decade, while raising a family and quickly expanding as a serious painter. Monica Mink (1948), who was published alongside Jane Frank's illustrations, was a narrator who did not listen and didn't think) "All Mother Minks know best," a poem in rhyme relating to a tale in which (according to the National Council of Teachers of English) "all Mother Minks know best." [1] — What ails the world in the United States. The Further Adventures of Till Eulenspiegel (1957, New York City), Thomas Yoseloff's book, included Jane Frank's block prints, which already have a penchant for collage-like textural juxtapositions and strong diagonal composition. Jane Frank's 1986 obituary in the Baltimore Sun mentions that she released Eadie the Pink Elephant, the artist's third children's book, with both text and photographs, as well as photos; this is confirmed in an excerpt from Publishers Weekly that is online [2].

Jane Frank suffered from illnesses twice in the 20 years since 1947, according to art historian Phoebe B. Stanton of Johns Hopkins University, "interrupted the work for long stretches." The first of these tragedies was a big car accident in 1952, needing multiple major surgeries and extensive recuperation, and the second was a "serious and potentially lethal disease," shortly after her 1958 solo exhibition at the Baltimore Museum of Art. According to Stanton, the second illness was so bad that it had interrupted Jane Frank's painting work for about two years.

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