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At that point it certainly would be called abstract. That is to say, you had a model and there'd be
At that point it certainly would be called abstract. That is to say, you had a model and there'd be
At that point it certainly would be called abstract. That is to say, you had a model and there'd be
At that point it certainly would be called abstract. That is to say, you had a model and there'd be
At that point it certainly would be called abstract. That is to say, you had a model and there'd be
At that point it certainly would be called abstract. That is to say, you had a model and there'd be
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Lee Krasner:
I have never been able to understand the artist whose image never changes.Lee Krasner:
I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little hanLee Krasner:
In the late 30s the name Pollock was totally unknown and unheard of.Lee Krasner:
My own image of my work is that I no sooner settle into something than a break occurs. These breaksLee Krasner:
My studio was on 9th Street between University and Broadway.Lee Krasner:
Painting... in which the inner and the outer man are inseparable, transcends technique, transcendsLee Krasner:
People were very affected by the war. But it didn't mean you stopped painting unless you were calleLee Krasner:
The Jumble Shop would be one place where we'd sometimes accumulate down in the Village. I think itLee Krasner:
The procedure was that an artist got a mural and then he would have anywhere from two to ten assistLee Krasner:
Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenh