In 1959, Lee Krasner was in crisis. She was still mourning her husband—who’d died in a car crash three years earlier—when her mother died, compounding her grief. An exhibition of her work planned by the critic Clement Greenberg had been canceled when Greenberg decided he didn’t appreciate her newer paintings. Plagued by insomnia, Krasner began painting at night in her husband’s old studio, and since she disliked working with color under artificial light, she used only shades of umber and white.
The paintings Krasner made during this period, described by her friend Richard Howard as her “Night Journeys,” are extraordinary. The confinement of her color palette is coupled with a wild range of motion and space, in works that erupt with feeling. The Eye Is the First Circle, completed in 1960 and named after an Emerson quote, is a tempest that engulfs the viewer in chaotic, feathery strokes, a 16-foot-wide sweep of circular emotion. Krasner’s grief, her rage, her power are all contained within the canvas, layered in jagged streaks of dark brown and daubs of white. Her state of mind is locked in paint but seeps outward.
The Eye is the first circle (1960) Pollock-krasner foundation
Lee Krasner: Living Colour, an exhibition currently on display at London’s Barbican Center, is the first major European presentation of Krasner’s work in more than half a century. This fact itself, the show makes clear, is astonishing. Krasner, one of a number of neglected female 20th-century artists finally getting the attention they deserve, is among the greatest expressionists of her era, rendering a breadth of emotion in abstract swoops and shards of color. Her resistance to a unifying style of painting, her enduring reputation not as an artist but as the wife of Jackson Pollock, and the obdurate sexism of …read more
Source:: The Atlantic – Best of