After marrying, she signed her works consistently as "Jane Frank", apparently never including a maiden name or middle initial.

Thomas Yoseloff's The Further Adventures of Till Eulenspiegel (1957, New York City), featured Jane Frank's block prints, which already show a penchant for collage-like textural juxtapositions and strong diagonal composition.

Art history professor emerita, Phoebe B. Stanton of Johns Hopkins University[6] mentioned that twice in the 20 years after 1947, Jane Frank suffered from illnesses which "interrupted the work for long periods".

[3] The first of these catastrophes was a serious car accident in 1952, requiring multiple major surgeries and extensive convalescence, and the second was a "serious and potentially life-threatening illness" soon after her 1958 solo show at the Baltimore Museum of Art.

Having fairly well recovered from her injuries in the traumatic 1952 accident, she studied for a period in 1956 with the great abstract expressionist painter Hans Hofmann in Provincetown, Massachusetts, and this mentoring gave her a jolt of inspiration and encouragement.

This might seem a sudden and late detour away from painterly pursuits, but it is a logical step: the canvases in the 1962 Corcoran show, such as "Crags and Crevices" and "Rockscape II", already feature passages that are sculpturally "built up" with thick mounds of gesso (or "spackle", as Stanton tends to call it).

Soon after the month-long Corcoran Gallery solo exhibition, Jane Frank began to apply not just spackle but a variety of other materials – sea-weathered or broken glass, charred driftwood, pebbles, what appears to be crushed graphite or silica, and even glued-on patches of separately painted and encrusted canvas (canvas collage) – to her jagged, abstract expressionist paintings.

– increasingly invoking the third dimension, creating tactile, sculptural effects while remaining within the convention of the framed, rectangular oil painting.

Stanton (p. 24) also notes that Jane Frank worked out a method – unspecified – of stiffening the apertures' often jagged edges so that they held their shape and flatness.

This standoffish aesthetic position, her chosen departure from the career-making New York City scene, and the fact that her overall output was not very large (by some standards at least), were factors that limited her career and her contemporary impact on the course of American art.

Yet perhaps, as time goes on, present-day art lovers who get to know these pieces will agree with Professor Stanton that they are powerful and beautiful creations, worthy of contemplation and admiration on their intrinsic merits – regardless of what was supposedly fashionable in 1960-something: ..."Winter Windows" is perhaps sublime in Burke's use of the word for a kind of beauty which produces sensations of awe and helplessness.... Part of the power of these pictures is the result of their controlled design, for balance, color, texture, have been managed so economically that the least change would throw the whole out of key.In the late 1960s, Jane Frank turned her energies toward the creation of free-standing sculpture, i.e., sculptures properly speaking, as opposed to "sculptural paintings" or mixed media works on canvas.

There were more solo exhibitions, at venues including New York City's Bodley Gallery again in 1967,[9] Morgan State University (1967), Goucher College (for the second time) in 1968, London's Alwin Gallery in 1971, the Galerie de l'Université, Paris (1972), the Philadelphia Art Alliance (1975), and a major retrospective at Towson State College (now Towson University) in 1975.

Continuing her exploration of the possibilities of multiple-canvas, "apertured" paintings, she began to create her "Aerial Series" pieces, which came more and more explicitly to suggest landscapes seen from above.

The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book.

Several sources note that Jane Frank also designed rugs and tapestries; a color photograph showing detail from one of these textile works is reproduced in the Ann Avery book listed below.

[10] According to the jacket notes of the Stanton book, Pictures on Exhibit magazine commented in a similar vein, saying that these landscapes are "to a compellingly strong degree, poetic evocations of communion with Nature's basic essentials".

[14] Summing up the ambiguous position of Jane Frank's work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: "Her richly textured canvases evoke a world of crags and forests, rivers and plains, in terms which are entirely non-representational.

However, it is rock and mineral substances, their veins and surfaces, projections and infinite hollows, which spark my particular fantasy – also beach wood, well worn with time, that is to be found on the water's edge.

These then are the metaphor..." [This quote needs a citation] (2) On the quality of interiority in her works: "It is also an attempt to penetrate the surface of an object, presenting not only the outside but what occurs within – the essence or core.

There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife.

But if these more literal aerial landscapes – created in 1970 and after – lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject.

[19] The day scenes show a fascination with the play of actual shadows and false, painted ones, "inviting the viewer more closely to inspect the textures on the canvas and its 'reality' ".

[19] The 1999 Benezit book's entry on Jane Frank takes it as a given that her works on the canvas may be summarized as semi-abstract aerial views: "Sa peinture, abstraite, fait cependant reference a un paysagisme aerien, comme vu d'avion."