Word: krasner
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Dates: during 1980-1989
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...museums in Fort Worth, Los Angeles and Detroit, must now be America's best- known living woman artist. She is only 60, but she was precocious, and her career has been long. Among women artists associated with abstract expressionism, she stands second only to the late Lee Krasner. You could never claim that she has Krasner's emotional range as a painter: pessimism, anger, every abrasive emotion are caught in some inner filter before they can reach Frankenthaler's canvases and muddy their obstinately sustained lyricism. She keeps up the mood of Apollonian pleasure so well that one may think...
...unlike Krasner, Frankenthaler did prompt a change in the style of American painting that, though it seems less momentous now than it did 20 years ago, was quite decisive. This was the passage from De Kooning-style "gesture" (the most imitated side of '50s painting) to allover soaking and staining, derived from Pollock and Miro via Frankenthaler. No doubt, in the end, even the toughest woman artist shrinks from constantly hearing that she painted a "seminal work," but Frankenthaler's Mountains and Sea, 1952, was certainly generative. It was the picture that provoked American color- field painting...
...kitsch. Who would waste ten minutes on these sub-Sargent portraits, these mincing imitations of Childe Hassam, these genre scenes crawling with dimpled rosy brats, if they had not been painted by American women? And what serious artist wants gender to be the primary classification of her art? Lee Krasner did not want to be in a ghetto with "women artists" -- she wanted to be seriously compared, as she now is, with men like Jackson Pollock and Andre Masson. Most living artists feel the same way, and this fact alone will guarantee the irrelevance of the National Museum of Women...
...between the enormous size of Murray's canvases and the often domestic and maternal emblems that become their subject matter -- tables and chairs, cups and spoons, an arm, a breast. Murray is not a feminist artist in any ideological sense, but her work, like Louise Bourgeois's or Lee Krasner's, gives a powerful sense of womanly experience. Forms enfold one another, signaling an ambient sense of protection and sexual comfort -- an imagery of nurture, plainly felt and directly expressed, whose totem is the Kleinian breast rather than the Freudian phallus...
DIED. Lee Krasner, 75, pioneer abstract expressionist painter of the New York School, whose mastery of draftsmanship and color, informed by an angry toughness and an exceptionally strong sense of rhythm, showed the influence of Matisse and Picasso as well as Jackson Pollock, her husband from 1945 until his death in 1956; after a long illness; in New York City. When they met in 1936, the Brooklyn-born Krasner was the better credentialed of the two and helped move Pollock toward the avantgarde. She continued to paint in a mutually respectful, noncompetitive partnership with him during the years of poverty...