Word: pollocks
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...artist at his best, up to his 60th year. By the time the show gets to Europe and other early works have dropped out, it will be patchier still; a pity, since the Whitney plainly wants the show to revise art history with a bang, installing de Kooning in Pollock's place as the central hero of abstract expressionism...
Krasner's, his demands, his egotism and his fondness for the bottle might have done her in. Yet they did not, and their marriage turned into a remarkable working partnership that was truncated only by the car wreck in 1956 on Long Island that killed him. Pollock respected Krasner's work, and episodically tried to promote it. But the art world was not listening...
...through the '40s and into the '50s in New York City were the victims of a sort of cultural apartheid, and the ruling assumptions about the inherent weakness, derivativeness and silly femininity of women painters were almost unbelievably phallocentric. Thus Peggy Guggenheim, the first major collector of Pollock's work, seems to have been so jealous of Krasner's place in his life that she refused to acknowledge her as an artist. And a poll in the Cedar Bar or any other watering place of the New York avant-garde would simply have echoed Picasso...
Living with Pollock slowed her development, which had been precocious before they met. Krasner had a very full art education: in fact, no American could have had a better one in the '30s. First, rigorous academic grounding under the atelier system at the Art Students League in New York; then large-scale practical experience on the WPA murals in the '30s; finally, three years (1937-40) under the great emigre teacher Hans Hermann, who knew the fabled phoenixes of Europe (Matisse, Kandinsky, Mondrian) and could transmit their ideas to his students. As a disciplined draftsman, she was nearly...
...ones that stretched arm and eye, surfaces that rose to the challenge of scale that was embedded in abstract expressionism. But she was able to find a way of rapid gestural drawing that did not depend on the skeining and overlay of thrown paint from edge to edge that Pollock had perfected. It was the brush that counted for her, and when she did fling or dribble liquid pigment on the surface, it only looked like a mannerism. But her sense of drawing was so ingrained that she could cover a huge surface with notations that never palled: shifting tempo...