In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning … - Lee Krasner

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In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing.. .The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today.. .The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.

English
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About Lee Krasner

Lee Krasner (October 27, 1908 – June 19, 1984) was an influential abstract expressionist American painter in the second half of the 20th Century; she was married with Jackson Pollock till his death in 1956.

Also Known As

Alternative Names: Mrs. Jackson Pollock Lenore Krasner Lee Krasner Pollock Lee Pollock Lee Pollock Krasner Lenore Krassner Lena Krassner
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Additional quotes by Lee Krasner

I think I stayed in the Mural division [ WPA, early 1940's] until it became A War Service Project and then I was relegated to do a specific job. There was a coordinated move, they had a new president that was being inaugurated for CCNY and they were doing a large – trying to show how higher education was involved in promoting the war effort, with the classes they were teaching, so that I did this work for more than a year before WPA terminated.

I think every once in a while I feel the need to break my medium.. .if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.

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That's right, and then I worked with him [ Hans Hofmann ] a little more than that. When I had time I could come in and use his studio, in a sense, that is to say, if it was a still-life class, I could be doing any kind of abstraction at that point, using that as a take-off point.. ..here again, when you spoke earlier about Cubism, I say I really didn't get the first impact, the full impact of it [Cubism], until I worked with Hofmann.

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