"I was nervous when I faced Pollock," Lee said, "and I knew I was in love with him...... I was convinced that when I met Pollock, my own work would be insignificant. That's the most important thing to me. Lee took Pollock to know all the artists and critics she knew, and she tried to recommend Pollock to them.
A few months after their acquaintance, Lee took Pollock to meet Clement Greenberg. Greenberg later became Pollock's most important defender and led the current of art criticism in his time, but in 1941 he was still a customs clerk, writing only occasional critical essays. Lee introduced Pollock to Greenberg: "This is Jackson Pollock," she declared, "and he would be a great painter." ”
"Oh," Greenberg replied to himself, "the future of man is uncertain. ”
For Lee Krasner, constantly recommending Pollock was her only option.
Born in Brooklyn in 1908 to Lyne Krasner, Lee was the sixth in a family to Russian Jewish immigrant parents, and she was the first child born to the family after moving to the United States. His father was a market vendor who made a living selling vegetables, fruits, and fish. After enrolling in Brooklyn, she transferred to Irvine High School in Manhattan, the only public high school in the city that accepted girls to study the arts.
From the spring of 1926 to the spring of 1928, Lee studied at the Women's Art Institute of the Cooper Union. In 1928, she transferred to the New York Art Student League, where she decided that teaching that did not have a rigorous structure and allowed more imagination was not suitable, so she transferred to the National School of Design. Here he met his classmate Igh Panlinkhev, and for the next few years Lee lived with the young White Russian man.
In 1937, Lee began to study painting with Hans Hoffmann. Her work during this period, like the work of her New York contemporaries, is very eclectic. In her paintings, you can see the influence of Cézanne, Matisse, and very fashionable surrealist painters, and even some of the paintings reveal the temperament of social realism.
Unlike Pollock, her passion for politics was almost as strong as her interest in art. She participated in numerous demonstrations petitioning for the Artists' Guild, sometimes even going to prison, and the relationship between the two faded when she learned that Panlinghuff's talent was limited. In 1939, the two parted peacefully and amicably.
Convinced that Pollock's genius was far higher than his own, Lee was willing to give everything for Pollock.
When the exhibition ended in February 1942, Pollock moved Lee and their works from the museum to Lee. Now, they spend most of their time with Lee. Pollock hung "Birth" on a wall that was mostly Lee's Cubist work and told her that he was going to give it to her. This is the first of many pieces that Pollock gave to Lee.
Of course, there are times when two people are inconsistent. One day, Pollock made some suggestions while looking at Lee's paintings, and he told Lee that he should sign the paintings. Lee had never signed a painting, so he refused to accept it, and used Mondrian as an example to tell Pollock that Mondrian would not sign his painting because that would mess up his painting and ruin the purity of the geometric division in the painting.
"You have to sign your painting," Pollock insisted. So Lee began to laugh at him, saying that there was only one reason why he signed the painting, and that was that Benton signed the painting, and Benton signed the painting because old Master also signed the painting. As Lee teased him, Pollock suddenly stood up, took a paintbrush dipped in black paint, walked over to a painting hanging on the wall, wrote "L. Krasner" in large crooked letters on the bottom of the painting, then "Lee Krasner" on the next drawing, and continued to write until he had signed every piece in the room.
Lee later began to sign his drawings as well, omitting them as "L·K" in order to make them look good.
Painter Wang Yancheng shares with you the beauty of modern art......