The Emotionally Charged Paintings Lee Krasner Created after Pollock’s Death - Artsy
Jackson Pollock and Lee Krasner are two of the most important figures in contemporary and American art. Both artists worked in Abstract. Demystified · Quizzes · Galleries · Lists · On This Day · Biographies · Newsletters Lee Krasner, original name Lenore Krassner, (born October 27, , Brooklyn , New In Krasner met the painter Jackson Pollock, whose work was being After their marriage the couple moved to a farm in East. Art History 2 Quiz 4 -Cezanne caught the attention of an art critic when Picasso and Matisse were up and coming -dissolving figure-ground relationship. sky is melting into everything else, rocks seem to come out at .. Untitled by Lee Krasner (the splattery lattice-like one_ Shimmering Substance by Jackson Pollock.
In and Pollock painted almost exclusively in black enamel on unsized canvas, creating works in which his earlier imagery is evident. Other important paintings from this phase are Echo and Number Seven, In he returned to colour and mural scale in Convergence and Blue Poles He created his last series of major works in ; Portrait and a Dream, Easter and the Totem, Ocean Greyness, and The Deep, among other works, recapitulate many aspects of his former styles and images.
Though his production waned and his health deteriorated afterhe did produce important paintings such as White Light and Scent in his last years. He died in an automobile accident in the summer of Legacy As a man, Pollock was described by his contemporaries as gentle and contemplative when sober, violent when drunk.
These extremes found equilibrium in his art. He was highly intelligent, widely read, and, when he chose, incisively articulate. He believed that art derived from the unconscious, saw himself as the essential subject of his painting, and judged his work and that of others on its inherent authenticity of personal expression.
Ironically, he did not profit financially from his fame. His work was more appreciated abroad. It was seen in Europe, for example, at the Venice Biennales of, and and in a one-man show in Paris in Lee Krasner never forgot the personal and professional advantages she and Pollock received on the WPA, and was mindful of the lack of such opportunities in the contemporary art world.
In planning her legacy, she envisioned a charitable organization that would serve a similar function: Jackson Pollock untitled, ca. Glass mosaic in cement on wooden support, 54 x 24 in. We continue to offer to older artists of distinction and achievement, our three-year Lee Krasner Awards as an indication of our respect for their noteworthy careers. We also have instituted an annual award, the Pollock Prize for Creativity, in honor of our thirty years of grant making.
Both of these awards are by nomination only. Finally, we are now awarding grants, through a closed nomination process, to fine art photographers. In addition to supporting individual artists, we continue to award grants to outstanding arts organizations or institutions that are making a direct contribution to the well being of artists.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added. When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about.
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I have no fear of making changes, destroying the image, etc. I try to let it come through. It is only when I lose contact with the painting that the result is a mess.
Otherwise there is pure harmony, an easy give and take, and the painting comes out well. Referring to his style of painting on the floor, Pollock stated, "I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting.
This is akin to the methods of the Indian sand painters of the West. Pollock denied reliance on "the accident"; he usually had an idea of how he wanted a particular piece to appear. His technique combined the movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas.
It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.
As another important influence can be cited Wolfgang Paalen 's article on Totem Art of the indigenous people of British Columbia and his Fumage paintings which he had seen at Julien Levy's exhibition of Paalen's surrealist paintings in Another strong impact must have been Paalen's fumage technique, as it was the surrealist technique with the most magic appeal for those painters who looked for new ways of making appear what was called the unseen or the possible.
Fumage was presented also in Matta's workshop about which Steven Naifeh reports: Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished.
Namuth said that when he entered the studio: A dripping wet canvas covered the entire floor There was complete silence Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas.
It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter My photography session lasted as long as he kept painting, perhaps half an hour.
In all that time, Pollock did not stop.
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How could one keep up this level of activity? Finally, he said 'This is it.
There is not inside or outside to Pollock's line or the space through which it moves. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.
He said about this: They make people look at a picture for what it is—pure painting. The critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random energy, and therefore meaningless. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral.