拍品專文
The frieze-like vertical forms in Lee Krasner's cut paper collages of 1947-1953 first appear in a series of paintings from 1947 which are characterized by rich, heavy brushed painting of alternating light and dark forms.
In these collages painted strips of painted paper or canvas in contrasting dark and light tonalities are laid down to create an ambiguous space.
Between 1951 and 1953 Lee Krasner made a series of collages mainly in black and white, from the remains of her own drawings which she then pasted back together. Krasner was pleased with the results and began to tear apart canvases which she believed to be unsuccessful. This resulted in a series of works from 1953 to 1955 known as collage paintings, a form of composition she would pursue throughout her career. What began as small, torn paper works evolved into large paper collages mounted on masonite or panel. They are marked by their verticality and shimmering dense surfaces.
The collage paintings represent a definite turn away from non-objective abstraction toward a more metaphorical content-laden art with allusion to both figure and landscape.
In these collages painted strips of painted paper or canvas in contrasting dark and light tonalities are laid down to create an ambiguous space.
Between 1951 and 1953 Lee Krasner made a series of collages mainly in black and white, from the remains of her own drawings which she then pasted back together. Krasner was pleased with the results and began to tear apart canvases which she believed to be unsuccessful. This resulted in a series of works from 1953 to 1955 known as collage paintings, a form of composition she would pursue throughout her career. What began as small, torn paper works evolved into large paper collages mounted on masonite or panel. They are marked by their verticality and shimmering dense surfaces.
The collage paintings represent a definite turn away from non-objective abstraction toward a more metaphorical content-laden art with allusion to both figure and landscape.