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拍品專文
Lee Krasner is now recognized as a seminal figure in the evoluation of abstract expressionism. Born in Brooklyn, she attended the Women's Arts School of Cooper Union and the Arts Student League from 1926 to 1929. While absorbing the work of Matisse and Picasso at the Museum of Modern Art, she took classes with Hans Hofmann's art school during the late 1930s. At that time, she began to associate with the master's of American Art revolution, Willem de Kooning, David Smith and Arshile Gorky. Perhaps the most signficant event came when she married Jackson Pollock in 1945 and the decade of personal exploration began.
Her larger scale paintings began to emerge in 1951 and in 1953 she began to cut up both raw canvases, many of her earlier paintings, and as Ellen Landau states "Krasner liberally manipulated Pollock's unwanted drawings for her own purposes. Here she counterpointed large shards from Pollock with black ink spots and small confetti-like shapes in burnt orange and periwinkle blue." (op.cit., p.136). Utilizing these fragments, she made a series of collage paintings such as Blue Spot. A limited range of brilliant colors, a vertical thrust, rough painterly edges, curving forms and dense flat space created the rhythmic arabesques characteristic of the series.
The art of Krasner, as Bryan Robertson suggests "is fundamentally, from first to last, a celebration of nature. By 'nature' I don't mean a view of a garden through an open window... For her, nature meant organic cycles and processes more than specific objects. Tall verticals -- trees of treelike personae -- appear in some; others recall the verticality of skyscrapers." (op.cit., n.p.). This is clearly evident in the present painting with its bark-like textures and narrow strips of forms. The 'woodland' connection is seen in other works of the period, such as Forest from the same year.
After 1955, Krasner's paintings became increasingly freer in gesture and larger in size. Her works fluctuated in emphasis between linear elements and organic shapes, between vivid colors and muted tones. The sence of growth and change and the importance of gesture in her works remained consistent throughout her inpassioned career.
Her larger scale paintings began to emerge in 1951 and in 1953 she began to cut up both raw canvases, many of her earlier paintings, and as Ellen Landau states "Krasner liberally manipulated Pollock's unwanted drawings for her own purposes. Here she counterpointed large shards from Pollock with black ink spots and small confetti-like shapes in burnt orange and periwinkle blue." (op.cit., p.136). Utilizing these fragments, she made a series of collage paintings such as Blue Spot. A limited range of brilliant colors, a vertical thrust, rough painterly edges, curving forms and dense flat space created the rhythmic arabesques characteristic of the series.
The art of Krasner, as Bryan Robertson suggests "is fundamentally, from first to last, a celebration of nature. By 'nature' I don't mean a view of a garden through an open window... For her, nature meant organic cycles and processes more than specific objects. Tall verticals -- trees of treelike personae -- appear in some; others recall the verticality of skyscrapers." (op.cit., n.p.). This is clearly evident in the present painting with its bark-like textures and narrow strips of forms. The 'woodland' connection is seen in other works of the period, such as Forest from the same year.
After 1955, Krasner's paintings became increasingly freer in gesture and larger in size. Her works fluctuated in emphasis between linear elements and organic shapes, between vivid colors and muted tones. The sence of growth and change and the importance of gesture in her works remained consistent throughout her inpassioned career.