Lee Krasner’s colourful, creative destruction

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Lee Krasner’s colourful, creative destruction
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She was among the most inventive of the abstract expressionists, as a new retrospective at the Barbican Centre shows

IN 1951 Lee Krasner hosted a show of her large, brightly coloured geometric paintings at a gallery in New York. Critics liked it, but the paintings didn’t sell. Distraught, Krasner began working on a series of even bigger pieces—black-and-white drawings that spanned from floor to ceiling—but she decided she hated them, and tore them to pieces. When she returned to the studio a few weeks later, she was surprised.

The exhibition demonstrates Krasner’s great skill as a colourist, and how much of her work is rooted in nature. Two of her early self-portraits, created as a student, featured plants. After her father’s death Krasner struggled to paint until she moved out to Springs, Long Island, in 1945 and started observing the outside world.

It is a cliché to say that Krasner “lived in Jackson’s Pollock’s shadow”—a phrase which appeared in her obituary in thein 1984 and has been repeated over and over in reviews of the current show, 35 years later. It is also not really true: the bulk of Krasner’s major artworks were created before her 11-year marriage, or after Pollock’s death. She was respected by critics in the 1950s and 1960s, and internationally recognised in her lifetime .

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