"I think my painting is so autobiographical if anyone can take the trouble to read it". - Lee Krasner
Lee Krasner was brought into the world in 1908; their parents were Russian-Jewish Orthodox immigrants. Krasner was the first in her family to be brought into the world in the United States, only nine months after her folks and more established kin emigrated because of developing antisemitism in Russia.
At home in Brownsville, Brooklyn, the family talked a blend of Yiddish, Russian, and English; however, Krasner supported English. Krasner's folks ran an essential food item and fishmonger in East New York and regularly battled to get by. Her more established sibling Irving, to whom she was close, read from good Russian books like Gogol and Dostoevsky. Even though she was a naturalized resident, Krasner felt associated with her folks' country. Sometime down the road, she frequently seethed at the idea that she was an utterly American craftsman.
Krasner consistently showed a feeling of the drive. At an early age, she concluded that human expressions zeroed in, all-young ladies Washington Irving High School in Manhattan was the solitary school she needed to join in, as its specialties center was an extraordinariness at that point. Krasner was at the first denied passage to the school because of her Brooklyn home, yet she, in the end, figured out how to acquire confirmation.
Maybe incidentally, Krasner dominated all classes aside from craftsmanship, yet she passed due to her generally extraordinary record. During secondary school, Krasner deserted her given name "Lena" and took on the word "Lenore," motivated by the Edgar Allen Poe character.
After graduation, Krasner went to the Cooper Union. She was well known (however not scholastically fruitful) and was chosen for different school workplaces. At Cooper Union, she changed her name indeed, this chance to Lee: an Americanized (and, eminently, hermaphroditic) adaptation of her given Russian name.
Having gone to two artistry-driven young ladies' schools, being a lady craftsman was not remarkable to the youthful Krasner. It was not until she went to the National Academy of Design that she experienced protection from her chosen profession. She was irritated by the possibility that ladies were in some cases held back from doing what the male specialists were allowed to do at the customarily disapproved of the establishment.
Life as a Professional Artist
1929 was an excellent year for Krasner. That year denoted the launch of the Museum of Modern Art, which presented her to the Modernist style and the gigantic chance it addressed. 1929 additionally indicated the start of the Great Depression, which spelled calamity for some trying craftsmen.
Krasner joined the Works Projects Administration (WPA), which utilized specialists for different public craftsmanship projects, remembering the numerous wall paintings for which Krasner worked. On the WPA, she met pundit Harold Rosenberg, who might later compose an original paper on the Abstract Expressionists, just like numerous specialists.
Krasner lived with Igor Pantuhoff, an individual painter of Russian beginning and a graduated class of the National Design Academy, for the more significant part of their ten-year relationship. Be that as it may, Pantuhoff's folks held enemy Semitic perspectives on Krasner, and the two won't ever wed. (Pantuhoff understood his slip-up after he left the relationship, and he, in the end, went to New York to win Krasner back. But, unfortunately, at that point, Krasner had effectively taken up with Jackson Pollock, who, in his commonly hostile design, actually pursued Pantuhoff from the premises.)
Relationship with Jackson Pollock
In the last part of the 1930s, Krasner took classes drove by the expressionist painter and celebrated teacher Hans Hofmann. She additionally joined the Artist Union. In 1936, at an Artist Union dance, Krasner met Jackson Pollock, whom she would meet again quite a while later when the two of them displayed their work in a similar gathering presentation. In 1942, the couple moved in together.
Pollock's ascent to acclaim, managed by his significant other, was brilliant. In 1949 (the year he and Krasner wedded), Pollock featured in Life Magazine under the title, "Would he say he is the best living painter in the United States?"
A few records recommend that Krasner invested such a lot of energy advancing her significant other's profession that she didn't have the opportunity to devote herself to her work. Nonetheless, this form of history is deluding. In springs, Long Island, where the couple purchased a house not long after they wedded, Krasner utilized a higher-up room as her studio while Pollock worked in the animal dwelling place. Both were known to work angrily and would (when welcomed) visit each other's studios for counsel and investigation.
Be that as it may, Pollock's liquor abuse and treachery harmed the relationship, and the marriage finished lamentably in 1956. Krasner was away in Europe, and Pollock was driving affected by liquor with his escort and another traveler. Pollock slammed his vehicle, offing himself and the other traveler (however saving the existence of his staff). As a result, Krasner deprived of losing her significant other and eventually directed this feeling into her work.
It was not until after Pollock's demise that Krasner started to get the acknowledgment she merited. In 1965, she accepted her first review at the Whitechapel Gallery in London. She encountered a flood of interest in her work during the 1970s, as the women's activist development was anxious to recover artistry history's lost, ladies. In addition, the allure of the sidelined spouse of a celebrated American painter made Krasner a reason to advocate.
Krasner's first review in the United States opened in 1984 at the Museum of Modern Art, only months after her passing at 75 years old. However, her inheritance lives on at the Pollock-Krasner House and Study Center at Stony Brook University. Kasmin addresses her legacy.
We share with you links to explore more about Lee Krasner
- CONVERSATION About Lee Krasner .The curators of the exhibition Lee Krasner. Living color ―Eleanor Nairne, from the Barbican Art Gallery, and Lucía Agirre, from the Guggenheim Museum Bilbao― spoke about the exhibition of this North American artist, as well as about her life and her work. - Link
- Lee Krasner interviewed by Barbaralee Diamonstein-Spielvogel, for the television program Inside New York's Art World, 1978. This program is part of the Barbaralee Diamonstein-Spielvogel Video Archive at the David M. Rubenstein Rare Book and Manuscript Library, Duke University. Link .