Lee Krasner, ‘Culminating Point’, 1979, Robert Miller Gallery

According to John Bernard Myers’s published “conversations” with Krasner (“Naming Pictures,” 1984), they also discussed titling the suite of works she prepared for her second solo show at The Pace Gallery, Lee Krasner/Solstice (March 20 – April 18, 1981). Krasner told Myers that when she created these paintings and collages, Stravinsky’s Rite of Sping was running through her head, but she had not been specifically illustrating this piece of music. Rather, it had stimulated her to think about the seasons and the ways they change. In particular, she began to muse about “the equinox, equinoctial transformations, the first day of spring, the beginning of autumn.” What ensued was a conflation of rethinking discarded works and observing the cyclical nature of weather and the seasons. Krasner said,
“Well, the year is divided into cycles, four seasons, and the cycles recur over and over – endlessly. Yet the weather, even the climate, is never exactly the same. As an artist I realize I, too, am always the same, and yet I am always different. I change, my work changes – but both remain within cycles that are peculiar to me...I thought of what I was doing, making something new out of the old, as a parallel corresponding to renewal in nature, a reflection of it.”

The Pace Gallery, NY, Lee Krasner/ Solstice, Mar. 20- Apr. 18, 1981, ill.
The Harcus Gallery, Boston, MA, Three Painters, Three Decades: Lee Krasner, Joan Mitchell, Pat Steir, May 19- June 13, 1984, no.24
The Brooklyn Museum, Brooklyn, NY, Lee Krasner: Works on Paper, Dec. 20, 1984- Feb. 25, 1985, no.41.

Ellen G. Landau, Lee Krasner: A Catalogue Raisonné. New York, NY: Harry N. Abrams, Inc. Publishers, 1995. No. 573 page 288

Pollock-Krasner Foundation, New York

About Lee Krasner

Lee Krasner was a major figure in the American Abstract Expressionist movement and the wife of Jackson Pollock. Working in oil on canvas, ink on paper, and mixed-media collage, Krasner produced works characterized by a sensuous painterly style, her large-scales collages often formed from the artist’s own cut-up paintings and drawings. Krasner exhibited with the American Abstract Artists group, through which she met Pollock; the two became vital critics and supporters of one another, and Pollock’s influence on Krasner helped free her from formalist strictures. “Painting…in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable,” she said. Krasner studied under Hans Hofmann, and considered Henri Matisse and Piet Mondrian to be lifelong influences on her practice.

American, 1908-1984, Brooklyn, New York

Group Shows on Artsy

Abstract Expressionism, Royal Academy of Arts, London
Women of Abstract Expressionism, Denver Art Museum, Denver
Campaign for Art, San Francisco Museum of Modern Art (SFMOMA), San Francisco