Lee Krasner (1908-1984)
Property of a Distinguished American Collection
Lee Krasner (1908-1984)


Lee Krasner (1908-1984)
signed and dated 'Lee Krasner ca. 1940' (on the reverse)
oil on canvas
30 x 24¼ in. (76.2 x 61.5 cm.)
Painted circa 1940.
Pollock-Krasner Foundation, New York
John Cheim, New York
Private collection, acquired from the above
Anon. sale; Christie's, New York, 17 May 2007, lot 127
Acquired at the above sale by the present owner
E. Landau, Lee Krasner: A Catalogue Raisonné, New York, 1995, p. 68, no. 129 (illustrated in color).
Houston, Museum of Fine Arts; The San Francisco Museum of Modern Art; Norfolk, Chrysler Museum; Phoenix Art Museum, and New York, The Museum of Modern Art, Lee Krasner: A Retrospective, November 1983-February 1985, no. LX.
New York, The Great Hall Lobby of The Cooper Union, Lee Krasner: The Education of an American Artist, January-February 1985.
Houston, Meredith Long & Co., Lee Krasner Paintings and Drawings by Lee Krasner, November 1985.
Kunstmuseum Bern and Musée des beaux-arts de Berne, Lee Krasner-Jackson Pollock: Künstlerpaare-Künstlerfreunde; Dialogues d'artistes-résonances, November 1989-April 1990, p. 108, no. 29 (illustrated in color).
Los Angeles County Museum of Art; Des Moines Art Center; Akron Art Museum and Brooklyn Museum, Lee Krasner, October 1999-January 2001, p. 45, no. 13 (illustrated in color).
New York, Whitney Museum of American Art, Picasso and American Art, September 2006-January 2007, pp. 188 and 386, no. 99 (illustrated in color).


An avid exhibitor with the Abstract American Artists association in the 1940s who studied under Hans Hofmann in the 1930s, Lee Krasner was among the most sophisticated and promising young artists in New York during this time. Developing strong bonds with Jackson Pollock and Arshile Gorky, she won rare acceptance as one of the few female artists in the downtown art world. Her work of the early 1940s such as Untitled, 1940, was described as "abstract, Picassoid, with heavy black lines, brilliant intense colors, and thick impasto" which tied her to both the classic abstraction and modernism well-established in the current art world as well as the contemporary market (E. Landau, Lee Krasner: A Catalogue Raisonné, New York, Harry Abrams, 1995, p. 75). One of the most thickly painted of her early 1940s still lifes, Untitled, evidences the artist's continuing interest in the work of Mondrian with its bold use of geometric forms in primary colors.