Lee Krasner

(1908-1984)

Never content to accept established guidelines or conventional ways of thought, Lee (Lenore) Krasner experimented continuously throughout her career. To advance her art Krasner drew on her immense intellect, lively debates with artists and critics, and her keen eye. A member of the first generation of Abstract Expressionist painters, Krasner’s work was both in dialogue and critical of the work of her contemporaries, including her famous husband, Jackson Pollock.

Born to a Russian immigrant family living in Brooklyn on October 27, 1908, Krasner decided early on to pursue a career in the arts. Enrolling at the Cooper Union in 1926, the young artist struggled to find the appropriate artistic milieu to encourage her talent. Beginning in 1928, she studied for a brief time at the Art Students League, then at National Academy of Design from 1928-1932, and subsequently at City College in 1932-33, where she obtained a teaching certificate. However, the teachings of the influential artist Hans Hoffman at his renowned school in Greenwich Village had the greatest impact on Krasner’s artistic development.

Krasner studied with Hofmann intermittently from 1937 to 1940. During these years her style changed from Surrealist-inspired paintings of the early-mid 1930s to abstract figural and still-life compositions that reveal an understanding of Cubist and Fauvist principles. Art historian Robert Hobbs singles out the artist’s charcoal nude figure studies from this period. He writes: “Of far greater importance than her still-life paintings are the life drawings that Krasner made at the Hofmann School. In these works she quickly assimilated the rudiments of Cubism as well as Hofmann’s emphasis on tensions achieved through the opposition of light and shadow, depth and flatness.” (2)

However, Krasner did not always agree with Hofmann’s teaching methods. Robert Hobbs reports how she became angered when Hofmann tore one of her drawings into quarters to make a point about compositional tension to his students.  It was perhaps not surprising that she later shortened her name to the androgynous moniker “Lee,” perhaps in an attempt to combat institutional sexism. Remarks such as Hofmann’s awkward compliment, when he announced to the class, “This [study] is so good you would not know that it was done by a woman,” testified to the inherent biases lingering in the art world. Krasner’s move was not uncommon for female artists of her ambition; other artist’s of her generation, such as Grace (George) Hartigan and Michael (Corrinne) West, also adopted male first names. (3)

In the 1930s, Krasner became acquainted with Harold Rosenberg, who would become one of the most influential art critics of his generation. In 1934, Krasner was appointed to the Public Works of Art Project, and the following year she and Rosenberg were assigned to Max Spivak’s mural project (for the Federal Art Project [FAP]).  Their positions—more as de-facto personal assistants than artistic collaborators on the project since Spivak preferred to work alone—allowed for ample conversations and lively debates about art, leftist politics, and intellectual developments. Rosenberg, an aspiring poet, introduced her to the work of Baudelaire and Arthur Rimbaud.  The French Symbolist poet Rimbaud provided a tremendous source of inspiration for the artist, particularly in his poem “A Season in Hell,” which Krasner excerpted and inscribed on the wall of her studio in 1941.

In 1940, Krasner joined the American Abstract Artists (AAA), a group dedicated to creating international abstract art whose slogan announced their aims “For Peace, for Democracy, For Cultural Progress.” (4) Her participation in AAA exhibitions from 1940 to 1943, her outspoken attitude and involvement in protests organized by the Artists Union, and her affiliation with Hofmann’s school increased her reputation in the early 1940s. She received a public mural commission for the New York radio station WNYC (which was never executed), and also participated in several group exhibitions. These included French and American Painting, a show organized by John Graham that opened in January 1942 at McMillen Inc. design studios.

French and American Painting marked the first occasion where Krasner and Pollock exhibited their work in the same show. Indeed, after receiving the offer to participate in the exhibition, Krasner visited Pollock’s studio to introduce herself, not realizing that she had met Pollock previously. In 1945, the couple both contributed paintings to A