Lee Krasner: Doing

Lee Krasner was American artist. Explore interesting quotes on doing.
Lee Krasner: 38   quotes 0   likes

“Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs... It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw… I began feeling the need to break with what I was doing and to approach something else.”

Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 74.

School , Art , Way , Feeling

“I think every once in a while I feel the need to break my medium... if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.”

Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 93.

Feeling , Thinking , Painting

“(Piet Mondrian's) comment was: 'You have a very strong inner rhythm. You must never lose it'. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann was also excited and enthusiastic about what I was doing at this time [c. 1938] but his comment was: 'This is so good that you would not know it was done by a woman'. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully.”

Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

Beauty , Strong , Time

“One could go on forever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man. But the painting I have in mind, painting in which inner and outer are inseparable, transcends technique, transcends subjects and moves into the realm of the inevitable.”

Lee Krasner

Source: Barbara Rose, ‎Lee Krasner, ‎Museum of Fine Arts, Houston (1983) Lee Krasner: a retrospective. p. 134.

Question , Problem , Painting

“I do not mean extended, to mean esthetic definition of space. For me, it is a matter of whether the canvas allows me to breathe or not – if the canvas soars into space or if it is earthbound. When it is earthbound it irritates me enormously. I would like to soar in a canvas.”

Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 91.

“My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you."”

Lee Krasner

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

Understanding , Time , Painting

“He [ Hans Hofmann one of her art teachers] would come up to me [1937-38], look at my work, and do a critique half in English and half in German, but certainly nothing I could understand. When he left the room I would call George McNeil, who was then the monitor, over and I would ask: 'What did this man say to me?' Hoffman was teaching Cubism and that was pretty exciting. Matisse and Picasso were my highlights. It was as though I was swinging between them. First I started to work with color and then there was a heavy swing toward the linear.”

Lee Krasner

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

Art , Color , Understanding , Teachers

“I think I stayed in the Mural division [ WPA, early 1940's] until it became A War Service Project and then I was relegated to do a specific job. There was a coordinated move, they had a new president that was being inaugurated for CCNY and they were doing a large – trying to show how higher education was involved in promoting the war effort, with the classes they were teaching, so that I did this work for more than a year before WPA terminated.”

Lee Krasner

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

War , Education , Thinking , Effort

“That's right, and then I worked with him [ Hans Hofmann ] a little more than that. When I had time I could come in and use his studio, in a sense, that is to say, if it was a still-life class, I could be doing any kind of abstraction at that point, using that as a take-off point.... here again, when you spoke earlier about Cubism, I say I really didn't get the first impact, the full impact of it [Cubism], until I worked with Hofmann.”

Lee Krasner

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

Life , Sense , Time