Lee Krasner: The Hidden Jewel of Abstract Expressionism
One of the first places I visited which inspired me to study art was the Peggy Guggenheim Collection in Venice. A not so hidden oasis of modern art resting on the magical Grand Canal, for me it was like a sparkly jewel within a treasure chest. I fell in love with her unfinished palazzo and the paintings and sculptures exhibited there.
Peggy Guggenheim Collection, Venice
Years later I wrote about Peggy Guggenheim’s role in establishing Jackson Pollock’s career based on her commission of a large mural for her home by a then unknown painter.
Peggy Guggenheim was an extraordinary woman.
Fast forward to last week when I saw a truly brilliant exhibition at the Barbican: ‘Living Colour’ celebrates the work of the Abstract Expressionist Lee Krasner. Not since 1965 has LONDON SEEN a solo exhibition of Krasner’s ART so this is a long overdue and exciting moment for the Barbican Art Gallery.
Lee Krasner Untitled 1946, oil on linen, Collection of Bobbi and Walter Zifkin
As I look at the first work in the show (Untitled 1946) I immediately set off an alarm. Krasner’s surfaces are so inviting, I want to get up close to see beneath the top paint layers. Too close! There is a large colourful mosaic table in this room and I start to think of the paintings nearby in terms of mosaics with hidden jewels to discover.
Lee Krasner Mosaic Table 1947, mosaic and mixed media on wood, Private Collection
Night Light asks to be explored. I see tiny pops of colour within the web of black and white paint. Searching for tesserae, I nearly fall into the painting (this one isn't alarmed).
Detail of Lee Krasner’s Night Light 1949, oil on linen, Private Collection, Dallas, Texas
It is clear that Krasner’s abstract paintings are alive, works are created, destroyed and recreated, paint and textures are collaged, styles are invented and reinvented. The paintings have a force of their own and Krasner was not afraid to move on, to change.
Detail of Lee Krasner’s Untitled 1954, oil, glue, canvas and paper collage on Masonite, Private Collection, New York City
I head downstairs to the larger works painted during bouts of insomnia. Working at night, Krasner’s palette was limited to white and umber to avoid using colours in artificial light. These explosive ‘night journeys’ have thin paint layers which reflect the physical nature of the marks made as well as the paint itself.
Detail of Lee Krasner’s Polar Stampede 1960, oil on canvas, The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art
I then move into rooms full of expressive colour. It’s great to see the movement of the vivid greens in Portrait in Green and the acidic orange in Courtship. Wow.
Lee Krasner Portrait in Green 1966, oil on canvas, Pollock-Krasner Foundation, New York
So why did I mention Peggy Guggenheim in my introduction? Lee or Lena Krasner was actually Mrs Pollock. Her paintings have historically been overshadowed by those of her husband. For me, the fact that Guggenheim pioneered Pollock over Krasner is hard to understand. On my tours, when I am able to, I always include a Krasner painting and every time people are very impressed. This does not surprise me. Krasner is a key Abstract Expressionist and should not be overlooked. The Barbican show is testament to her conviction as a person and a painter. A jewel within a treasure chest.
Lee Krasner Courtship 1966, oil on canvas, Collection of David Dechman and Michel Mercure
The archival interview footage included is also wonderful. Krasner comes across as an artist with personality and purpose. She is straight forward, interesting and witty. I especially like the fact that her love of jazz meant she went dancing with Piet Mondrian in New York. Two abstract artists dancing and painting; their rhythms quite different.
Lee Krasner was also an extraordinary woman.
Lee Krasner Living Colour, 30 May - 1 September 2019 at the Barbican Art Gallery:
https://www.barbican.org.uk/whats-on/2019/event/lee-krasner-living-colour