LEE KRASNER AND ABSTRACT EXPRESSIONISM
by Dr. Stephen Polcari, Assistant Professor, State University of New York at Stony Brook
A UNIVERSITY GALLERY PUBLICATION STAT~ UNIVERSITY OF NEW YORK AT STONY BROOK 2 2 LEE KRASNER: LATE PAINTINGS .by Stephen Polcari
Unlike others of her generation, Lee Krasner was committed to the American Abstract Artists. (Ad Reinhardt was the only other modern art from the very beginning of her career'. As a young a., member of the Abstract Expressionist generation to join a group student in the 1930s at a time when American artists leaned more criticized tor the lack of human reference in its forms.) toward Mexican and representational art than Cubism and By 1940 Krasner was both unusually savvy and practiced in abstraction, she studied the School of Paris and the work of Oe modem idioms. That year she met John Graham, an e~patriate Chirico and Matisse. When she met Jackson Pollock In 1941, her Russian artist who played a role as mentor to the Abstract Expres work turned toward what would later be known as Abstract sionists, Introducing them to the latest Ideas of the School of Paris. Expressionism, and It Is as an Abstract Expressionist painter that Many of the Abstract Expressionists read his Systoms and Dialec she found her capacities as an artist. Krasnefs work captures the tics of Art - Krasner said It deeply impressed her - as did his turbulent questing and struggle for a mythic fecundity that is advocacy of Picasso. Freud. and Jung.• Around this time she read fundamental to Abstract Expressionism. She uniquely incorpo Jung's Integration of P&rsonality and liked his general ide'!S. rated a Matissean decorativeness Into that quest, resulting in a not those on art. Later she said, "In a general sense. it was his style of vitalistic coiling or spiraling - in other words, forms and universality that attracted me, the largeness of his concept, partly themes of gestation and growth. Krasnefs art Is In the end an because of my very early Interest In fairy tales and in the writings of affirmative art turning Abstract Expressionist and Pollockian Maeterlinck and Edgar Allan Poe.'• Like many Abstract Expres energy Into a symbolic personal and historical efflorescence. sionists in the early 1940s, she also read Baudelaire, Rimbaud, and Krasner's art was among the last flowerings of the fertile com Verlaine.• plex of ideas, history. and culture that constitutes Abstract Expres It was through Graham that Krasner met Pollock. Graham had sionism. Beginning in the 1940s. Abstract Expressionism arose as asked her to exhibit in the McMillen Gallery in January 1942. and the work of Mark Rothko, Adolph Gottlieb, Jackson Pollock, and Pollock's work was Included in the show. She noticed he lived near others. with a selected heritage of themes of American art and her and went to visit him. When she met Pollock and saw his culture of the 1930s Including: history as ritual, folktale, and paintings' Independence from the early modernism with which she legend; the evolution yet continuity of human endeavor over space was absorbed. her own work was thrown into disarray. Pollock's and time, and the pattern of human experience as conflict and work caused her to break her exclusive allegiance to the School of triumph. It confronted the latest and most cataclysmic episode In Paris. She developed a personal and professional closeness to the continuing crisis of the West in the first half of the twentieth him, and they married in 1945. Her work of this time is still very century, the Second World war. and produced the most powerful Hofmannesque. consisting of still llfesand of vigorous biomorphic representation of the wafs psycho-history of struggle and hope curving shapes, but it also reflects Pollock's fusion of the motif with before Its historically-New York School of however, rejected his fundamental Interest in automatism.' and the 1950s, with which It was initially confused. although she was more acquainted with modem painting than he, To come to terms, absorb, and then transcend their violent she was prompted to rework her canvases so much so that they history, American artists adopted modern art as a primary means became what she called gray slabs. Few of these works survive. It of expression for the first time since Alfred Stieglitz's group was not until after 1946 lhat she could begin to emerge f rom adopted Fauvism and Cubism in the first decade of the twentieth Pollock's impact. By that time, she had absorbed Pollock's linear century. Modern art became the chosen means for investigating drawing with a paint tube and began to loo!< for her own direction. and analyzing human experience In their apocalyptic time. In a series entitled Uttle tmage, of which Continuum of 1949 is Together with their study of the forms of modem art. particularly an example, Krasner presents a refined version of Pollock's 1946 Surrealism. many of the artists directly or indirectly combined transitional paintings, such as Eyes in the Heat and Shimmering such elements as the depth psychology of Freud, the philosophies substance. Krasner creates an interlocking web of lines and of culture and consciousness of Bergson and Nietzsche, and the patches that achieves the all-<>verall design that is perhaps the transformatlve criticism of Herbert Read. To this combination they most significant formal achievement of Pollock and Abstract added Interests that many American and English intellectuals Expressionist painting. The dense overlaying suggests the contin shared: Jungian psychology, with its affirmative view of mytho ual integration of pictorial elements in an endless ex.pans.ion. ritualist psychic life; the archetypal ritualistic, transformative pro 'Miile impressive in form, however. Continuum is more impres· cess propounded by Joseph Cempbell; T.S. Eliot's search for a sive in its statement. Its continuous web of lines and color patches revivalist spiritual tradition; and the interconnected dynamics of reveal Krasner's understanding of the fundamental stylistic theme culture. language, and history found in James Joyce. From this of an-over painting - continuity. unity, and vitality. A ..cont inuum" matrix arose the Abstract Exprec:;lonist thought and culture is one of the most fundamental Ideas of American painting in the through which Lea Krasner spoke. 1930s and 1940s, and especially of Abstract Expressionism. Bom In Brool
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Indebted Indebted ile ile Wh her her throughout throughout out out play play will will she she ' ' ' . enlarging existence existence of of pattern pattern cyclic cyclic the the of of beginning beginning the the establishes establishes dlry dlry ever ever is is which which comprehension, comprehension, his his to to geared geared way, way, · · Fecun consequences. consequences. its its and and form form of of blnh blnh the the of of idea idea the the to to eads eads l the the along along by by man man attained attained stage stage a a of of accompaniment accompaniment an an lf lf itse dynamism dynamism Here Here . . else anything anything as as on on i mot energetic energetic much much as as than than mora mora never never are are - experience experience and and expression expression - pan pan are are tha1 tha1 ings ings be blomorphlc blomorphlc of of 1950s) 1950s) wor1t wor1t the the of of his his and and Hell Hell ,,,. ,,,. ft ft a a is is which which of of life life spiritual spiritual the the and and art art ; ; change towards towards Eye1 Eye1 n n I s s ' Pollock ng ng li eyes eyes ecal (r the the suggest suggest . . canw. forms forms means means Round Round are are passing passing institutions institutions ; ; . . growth change is is Life Life ol ol the the bott«n bott«n to to top top fr«n fr«n a a extending extending maelstrom maelstrom -ge -ge lr«n lr«n : : rnetaphoB c c i organ used used He He . . cnange forms forms Semi-abstract Semi-abstract . . vocabulary mature mature her her basic basic established established and and as as expansion expansion l l spiritua advancement advancement hlstor1cal hlstor1cal of of conceived conceived ). ). 1938-41 of of irth irth B and and Pollock's Pollock's 1946 1946 of of Beginning Beginning The The 's 's Newman Ch-y Ch-y ." ." Progress Treditlon, Treditlon, "Evolution, "Evolution, as as Described Described 1930s. 1930s. the the to to (comparable (comparable 1960. 1960. of of Fecundity Fecundity and and 956 956 1 ol ol Birth Birth Krasner's Krasner's In In perwslve perwslve was was experience experience human human expanding expanding Interconnected, Interconnected, . . forms modern modern In In history history of of pattern pattern overall overall the the of of concept concept of of Idea Idea the the (193-4), (193-4), Art Art In In ism ism xpression E his his In In wrote wrote Cheney Cheney cal cal i mytholog the the clothed clothed Krasner Krasner her her colleegues, colleegues, Like Like . . rection Sheldon Sheldon critic critic art art the the As As . . growth spiritual spiritual : : ldee second second a a added added · · resur a a then then and and conflict. conflict. into into journeying journeying a a , , forth setting setting a a as as tern tern be be can can pattern pattern and and history history as as ol ol continuum continuum he he t concept concept the the To To · · pat the the phrased phrased 1949 1949 Ft1C4S Ft1C4S ol ol a a "'°"9and "'°"9and with with Hero Hero nftuendaf nftuendaf i orm. orm. f and and mage mage i mythic mythic very very s s l' Campbel Joseph Joseph . . rebirth and and , , a a death , , ol ol birth cycle cycle of of ng ng i virtually virtually a a became became ety ety i soc and and Individual, Individual, the the culture, culture, process process of of · · consist as as ritual ritual and and myth myth of of pattern pattern standard standard the the define define potogista potogista progreulve progreulve and and dynamic dynamic the the murals murals many many In In Pasrora/). Pasrora/). Kamas Kamas ( anthre> and and ts ts is Mytholog ritual. ritual. and and tr«n tr«n psychology. psychology. , , logy mythO strength strength and and vitality vitality renewed renewed triumphant triumphant to to , , Prelude) gic gic (Tra Ideas Ideas with with it it of of merging merging a a but but triumph triumph and and , , struggle beginnings, beginnings, ife ife r st and and ct ct i l conf to to gs. gs. in beginn pioneer pioneer from from events events of of sequence sequence of of pattern pattern 1930s 1930s the the of of recasting recasting a a only only not not Is Is pattern pattern a a Such Such continuous continuous a a narrate narrate Capitol Capitol State State Kansas Kansas the the for for murals murals . . an ist ist Expression Abstract Abstract most most In In found found rebinh rebinh and and death, death, ftlct, ftlct, Topelca Topelca s s ' Curry cycle. cycle. complex complex more more a a expressed expressed others others , , r 11.,... or or cor> , , binh nnings nnings i beg of of pattern pattern the the dynamic dynamic of of version version her her of of were were patterns patterns his his ile ile Wh . . life American American of of patterns patterns continuous continuous the the ng ng l unleas an an death. death. • • ' Pollock fo41owing fo41owing 1956 1956 n n . i . toward t!MOs t!MOs late late represented represented paintings paintings his his the the presenl. presenl. past past to to the the fr«n fr«n and and ground ground the the of of picture picture smaller smaller her her lr«n lr«n moved moved Krasner Krasner Gradually Gradually ~ ~ back· back· to to foreground foreground from from sequences sequences c c i rhythm famous famous their their n n I and and ups ups has has that that lcism lcism dialect a a of of concept concept overall overall an an is is So So too too ." ." society living living a a of of complex complex a a as as and and patterns patterns behavior behavior of of sum sum a a es es . . onward culture culture defined defined He He • . pattem a a Into Into organized organized life life American American of of res res tu tu 0 0 time time this this from from work work her her of of basis basis e e th Is Is continuum continuum The The . motion l l a u ul· ul· c and and ies ies holog psyc the the reveals reveals matter matter bject bject u s artist's artist's an an , , him · · perpet of of realization realization pictorial pictorial a a in in lied lied imp and and ed ed um subs are are time time For For . . painting his his into into concept concept this this p0 , , central as as culture culture and and space space over over experience experience words., words., human human other other in in cutture. cutture. and and American American of of advocate advocate and and painter painter Aeglonalist Aeglonalist leedlng leedlng the the , , Benton History History mowment mowment Expressionist Expressionist Abstract Abstract of of idea idea fundamental fundamental Hen Hen Thomas Thomas "' "' . pattern one one l~ined l~ined we to to moulded moulded "are "are that that the the has has plucked plucked Krasner Krasner ideas. ideas. ol ol atream atream bload bload s s i th Fr«n Fr«n morals morals and and , , manners manners action with with and and of of thought thought personality personality ent ent . . nuum i cont consist· consist· less less or or m0 the the of of conC8j)t conC8j)t st st i Expression Abstract Abstract Individual Individual to to the the with with configurations configurations nterlock nterlock I end end patterns patterns psychological psychological ascribed ascribed that that rebirths rebirths and and symbols symbols lertlllty lertlllty reed, reed, was was "'periodicity," "'periodicity," widely widely or or Cunure Cunure cycllcafity cycllcafity of of . . sites Patterm Patterm whose whose , , Benedict Ruth Ruth oglsl oglsl oppo thedlafecticof thedlafecticof - themes themes · · l umerable umerable Inn -11 -11 as as Theenthropo . . as as patterns nuum nuum Into Into conti be be organized organized to to thought thought re re history- hOlistlc hOlistlc yet yet episodic, episodic, sophisticated, sophisticated, set set a a end end forth forth culture, culture, Joyce Joyce experience, experience, cycle. cycle. the the of of Human Human out. out. stand stand lta lta ldeu ldeu of of Two Two phase phase the the original original to to , , return return a a chaos alter alter and. and. phase, phase, democratic democratic . . 1930s the the of of culture culture and and an an in in deas deas I then then and and aristocratic aristocratic by by . . an an heroes lolla-d lolla-d s s l It It and and giants, giants, . . gods and and forms forms basic basic baed baed on on broadly broadly -. -. the the continuum continuum - eventa eventa by by mythic mythic governed governed is is period period theocratic theocratic prehistoric prehistoric A A . . the the 1930I) of of intef11ctlon intef11ctlon dynamic dynamic the the and and prasenl. prasenl. and and the the • • past past bel\ een een of of cyclee cyclee mural mural multlpanel multlpanel unlike unlike (nol (nol culture culture and and ol ol government government connection connection a a , , tory his to to pattern pattern ol ol overall overall an an notion notion Mentis! Mentis! lonms lonms by by panicular panicular characterized characterized is is history history of of . . Each Each phase phase journey the the suggested suggested concepl concepl the the - origins origins Ila Ila In In Mandel Mandel Partially Partially book's book's the the of of stages stages the the In In reflected reflected Is Is a a that that cycle cycle lour-pan lour-pan Into Into . . experience human human history history divides divides , , Vlco following following Joyce, Joyce, , , Wilke Finnegan's Finnegan's In In while while of of progress. progress. not not ii ii process, process, g g in ever-advanc Interconnected. Interconnected. the the life. life. modern modern in in patterns patterns mythic mythic and and traditions traditions ancient ancient recasting recasting of of symbolized symbolized continuum continuum The The . . time and and space space over over evements evements l 1ch mode mode a a suggested suggested U/ySS8S U/ySS8S sought. sought. Americans Americans the the that that continuity continuity and and struggles, struggles, events, events, action. action. human human of of sequence sequence continuing continuing and and completeness completeness • • offered offered culture culture and and , , biology story, story, i h . . lime a a n n I hislory hislory It It organized organized eo< eo< icept icept M M a a history. history. American American of of umphs umphs presenl presenl and and past past of of interlocking interlocking and and symbolism symbolism . . dense interwoven interwoven . . tri· tri· and and struggles beginnings. beginnings. the the rept rept esent esent to to murals murals Topel<& Topel<& s s ' . . method The The Krasner including including Elcpresalonists. Elcpresalonists. Abstract Abstract many many his his In In Curry Curry Steuan Steuan John John as as such such painters painters llsl llsl by by Aeglona used used also also to to fundamental fundamental was was that that life life exterior exterior and and nterior nterior I and and , , culture . . myth was was It It . . Administration Progress Progress Wort the the and and Sculpture Sculpture and and Ing Ing , , history of of linkage linkage of of mode mode dynamic dynamic a a provided provided Wake Wake Finnegan's Finnegan's Paint· Paint· of of Section Section as as Treesury's Treesury's the the such such projects projects an an Government's Government's and and Ulysses Ulysses In In technique technique stream-of- Joyce's Joyce's l l Federa the the of of painting painting mural mural the the In In stages stages and and sequencee sequencee In In jected jected . . ., Joyce James James , , continuum pro civilization civilization wor1d wor1d and and American American of of d8Y9lopment d8Y9lopment on on emphasis emphasis the the literary literary of of the the master master rom rom f drew drew Smith, Smith, David David and and , , Tomlin the the by by indicated indicated was was continuum continuum The The . . . painting painting history history decade's decade's , , Aothko , , Gottlieb . . Pollock including including . . anlsta Expressionist Expressionist Abstr11Ct Abstr11Ct the the shaped shaped continuum continuum histOl1cal histOl1cal a a Idea Idea of of the the 1930s. 1930s. the the In In y y Man 1940s. 1940s. the the fO< fO< concep1 concep1 the the relined relined further further figure figure Another Another CYlture CYlture and and art art American American idea idea n n I M M fundamental fundamental . . a a myth and and tory tory his· his· of of and and patterns patterns " " . . .. procesMS procesMS "'Staoet "'Staoet dynamic dynamic and and Interconnectedness Interconnectedness In In place place take take would would consciousness consciousness the the of of rep · · evolu the the that that noted noted Ernest Ernest and and that that Breton Breton tradition tradition Surreelists Surreelists the the painting painting and and Hare Hare modem modem the the with with connections connections for for -rch -rch id id Dav r r ulpto sc American American e e th by by editorial editorial the the Axis). Axis). the the Is. Is. the the or or that that tlon, tlon, 19509 19509 ttle ttle ol ol anxiety anxiety pop pop existential existential the the than than urces urces so and and · · destruc of of for~ for~ the the over over victory victory more more and and ( Ideas Ideas spirit spirit the the complex complex of of much much of of emancipation emancipation out out arose arose sm sm i dynam expressionist expressionist an an for for life life outer outer and and nner nner i of of synthesis synthesis Abstr11Ct Abstr11Ct new new a a for for need need explanations, explanations, theM theM eome eome the the of of In In truth truth It It there there While While scussion scussion i d a a In In . . sm i anti-modern 1930s 1930s as as to to oppooed oppooed an an modem modem process.• process.• penonat, penonat, unconscious unconscious Ing Ing with with consistent consistent is, is, tenns tenns In In that that ; ; terms modernls1 modernls1 in in was was seen seen manifest· manifest· evolutlonlsm evolutlonlsm as as now now Exptessionism Exptessionism Abs1J11Ct Abs1J11Ct of of twuahwoulence, It Is one of the more dramatic of forming and reforming in a coiling whirlpool, Gaea embodies the Abstract Expressionist paintings. charged action of Abstract Expression as the energy of growth. In Icarus of 1964 sees the rasurfaclng of her semi representational these paintings then the continuum Is used to suggest an inter forms in specifically mythic context. As with most Abstract Expres locking, crisscrossing modern combat (originally World war II) sionists, Krasner drew from many cul1ures for her 1hemes. While that reenacts the cycle of conflict and rebirth. The continuum ioins much previous writing has concentrated on their Interest In Native· opposing ends and fulfills a basic need and social theme of the American art, the artists culled their concepts of myth and ritual interwar period as defined by E.M. Forster In Howard's End: "Only process from all over the world and from different cultural periods. connect.'"' In plain terms, Krasner's art represents the continual In other words, from all space and time. Krasner here uses the and dualistic ups and downs or pluses and minuses of the ;ourney Greek myth of Icarus who flew too close to the sun, thus melting of life. history, and myth. his wax and feather wings, and falling to death in the sea below. Courtship of 1966 reveals an autobiographic element that had Scattered feathers marked where he fell. Krasner's painting of alw·ays underlined her work. The painting contains concentrated orange and lavender curvilinear forms recalls Icarus's scattered blomorphic forms that resemble cooing bi rds. The "birds" are plumage as It echoes a myth of celestial danger, human hubris. both drawn and shaped by the orange ground. Krasner once said and disaster. that her painting can be read as autobiographical if one tries." but Kulic of 1965 dispenses with multiple colors and consists only it is a mistake to interpret her work so narrowly. She integrates of yellow ochre curvilinear outlined forms. While the painting is personal references and elements of ritual pattern and process. fully consistent with her development. in an odd way It resembles Here the birds may evoke memories of herseif and Pollock. but it the paintings of the French Sunreallst Andre Masson, such as Elk surely points to another moment in the cycle of bi rth and death. Attacked by Dogs of 1945, whose work influenced Pollock in the For all of their originality. these works are still too Pollocklan, earty 1940s. The distillation of her forms to criss-crossing lines reflecting his vertical biomorphs of the mid-forties and his swi evoking drawing and calligraphic writing (Kufic is a form of Arabic rling figures of the fifties locked in their own maelstrom. Some of script) also suggests a meeting of the visual with the verbal that the works. like Pollock's, have been described as monstrous or had begun in her Uttte Image works and was shared by many of ugly. but she rejects that label: "I wouldn1 call It monstrous or her colleagues. underworld. You use the word monstrous as though it -re rele An original contribution of the Utt/a Image series of the late gated to a realm other than man. I would call It basic, Insofar as I 1940s had been Krasner's development of metalanguage painting am drawing from sources that are basic.''10 The pain1fngs may - that is, the concern 1Nlth an elemental. archetypal. archaic visual reflect the personal turt>ulenceof her life after Pollock's death, but and verbal image expressed in forms that suggested rows or mosa they hint as -11 at the unique. optimistic decorativeness and ics of letters or script. This concep1 was fundamental to interwar bright. sharply~ed color of Matissean cut-outs which flower in and Abstract Expressionist art. Surrealism had sought to combine her work In theearty 1970sandwithwhlch she overcomes Pollock the visual and verbal, as In Miro's archaic cave painting and sign and creates some of her best paintings. 5 . . Matisse from from derived derived also also abstraC11ons abstraC11ons ornamental ornamental emphasized emphasized h h ic wh ng ng i paint Image Image New New and and • • deooratM! • later later _,ties _,ties the the pate pate ici ant anc:I anc:I >ibranl. >ibranl. hlBh hlBh both both ullness ullness f human human and and hlstO i to to colO< colO< flat flat bright, bright, now now tissean tissean Ma anc:I anc:I dynamism dynamism her her to to somlng somlng gestat a a represented represented that that century century mid-twentieth mid-twentieth the the In In t t I fO< fO< mage mage i bl0$ of of process process and and f0 botan joined joined hes hes Krasner Krasner belongs. belongs. new new a a inding inding f , , growth and and aciion aciion mythic mythic of of pattern pattern the the nlzed nlzed t t I which which to to thesis thesis arger arger l ing ing underly the the one one grasp grasp can can t t ha t form form mOder rasner rasner K . . tradition stylistic stylistic erited erited nh I r r ei th mOdernltlng mOdernltlng the the to to theme theme title title the the n n relating relating by by only only s s i forms. forms. n n ee r g ing, ing, lrl sp to to was was devoted devoted thought thought and and art art their their f f o much much revolutlonsry, revolutlonsry, were were just just are are there there : : theory ral ral u cult or or ogical ogical l bio a a suggests suggests speclflcally speclflcally Picasso Picasso and and , , sse . i t Ma , , as as Cezanne h h suc artists artists While While art. art. modern modern ing ing noth nly nly i Certa . . unfurl or or forth forth break break to to seem seem that that f0 e e k ll to to contribution contribution central central ' ' colleagues h« h« her her and and is is that that and and lc, lc, my1h leaf , , swirting with with of of continuity continuity Idea Idea the the evoltes evoltes ngenesl• ngenesl• i Pal s s I work work abstract abstract and and sernifiguretiYe sernifiguretiYe Her Her . . process and and pattern pattern "" "" . continuity in in believe believe I I . . future the the ol ol part part becomeo becomeo which which ng ng i totaliz but but c c i elast an an Into Into nature nature nd nd a . . culture , , myth hlstOfY, hlstOfY, as as , , present the the of of part part is is past past the the believe believe I I that that clear clear crystal crystal It It made made such such concepts concepts es es i t that that approach approach . . an an Is Is 19409 It It the the n n i begun begun form form have have I I past. past. the the of of free free never never am am "I "I , , said once once she she Indeed, Indeed, . . motions to to h h oac r app and and . . eas Id , , mes the the the on on draws draws art art r's r's rasne K e, e, f li namic namic dy of of Image Image n n a in in forms forms Its Its and and past past the the of of nation nation r inca re herown herown to to on on i allus personal personal of of clusion clusion In the the cjespite cjespite and and tradition tradition and and , , recreation , , repetition cyclic cyclic st st i Expression Abstraci Abstraci to to ment ment modern modern uropean uropean E the the of of terms terms in in WO her her of of examination examination ics" ics" crit · · commit her her again again once once clear clear makes makes Krasner Krasner , , then Ide• Ide• . . egg an an As As Despite Despite ritualistic. ritualistic. and and lc lc my1h primarily primarily remained remained colleagues, colleagues, the the in in with hidden hidden • • ol ol restititution •germ •germ a a from from e e im ol ol t end end the the at at her her ke ke li work. work. her her , , , , date or or IO , , phese the the Whatever Whatever ism. ism. sion body body each each of of resurrection resurrection the the , , ontogeny of of stage stage end end the the to to refers refers Expres AbstreC1 AbstreC1 of of elements elements crucial crucial the the as98rta as98rta art art aner's aner's Kra particularly particularly It It ...... descendants descendants of of stages stages ontog-tic ontog-tic In In stages stages . . es u colleag her her of of at at th nd nd a ic ic work work er er h of of phylogenet past past f f o r-tition r-tition irue irue was was he he t It It , , el k aec H Ernst Ernst foundation foundation the the expression. expression. emotional emotional , , w ra and and ng, ng, i ayer l thematic thematic centurybiologlat centurybiologlat nineteenth nineteenth the the or or f egg; egg; the the n n I performed performed already already and and l l a spati ity, ity, x comple to to k k bac moved moved she she has has anc:I anc:I concentration concentration Individuals Individuals of of unfolding unfolding c c l ontogen the the , , Bonnet Chartee Chartee list list natura almplicity almplicity From From 1960s. 1960s. and and 19509 19509 of of the the WO Jay Jay Stephen Stephen natural natural mulUpfe mulUpfe and and neer neer ll curvt awlrfing awlrfing to to ol ol fields fields ng ng i Accord . . the the all-over all-over - recapitulation anc:I anc:I cultural cultural biological biological of of Idea Idea an an roots roots her her to to return return thematic thematic and and stylistic stylistic aa aa l , , lastwotks her her to to refers refers among among continuum continuum swirling swirling Its Its , , with with Pa/lngenesis Krasnefs Krasnefs , , 1981 of of Ap,,.arances Ap,,.arances TWO TWO Between Between . . years la$t la$t her her In In again again . nuum nti co • • 2 once once amism amism n dy ear ear curvilin pressionist pressionist x E a a of of ns ns AbstraC1 AbstraC1 o o Int sectio cuous cuous moved moved pi cons most most the the ly ly simp are are gs gs n peni rasner rasner K as as ved ved li ort ort h s be be to to proved proved form form age age ll hap co grey grey The The Preeent-day Preeent-day . . on time-dimensi wider wider a a In In lives lives our our on on carry carry to to words, words, other other In In ••• ••• condition condition s s i th of of outcome outcome • • . constant natural natural the the t t I histO with with contaC1 contaC1 closer closer a a only only for for the the s s i demand demand change change that that I I auppooe auppooe , , me For For ..• ..• Mr11er Mr11er The The ••. ••. up up piled piled ties ties was was with with volved volved shortsightedness shortsightedness in ..• ..• I I that that ng ng ng ng i i reckon someth to to back back swing swing to to aeerna aeerna Is Is the the II) II) Wllr Wllr see see (WOrld (WOrld us us It It ; ; eround eround we we pendulum a a Whet Whet ke ke li ••• ••• going going world world the the keeps keeps work work my my All All . . define upon upon outlook outlook versal versal ni u a a to to or or f hard hard Is Is demand demand a a but but , , t but but ou M<:y M<:y holds holds prop that that to to consistency consistency a a there's there's t t tha ion ion tat Invi see see an an not not s s i This This . . uture I I f em em the the th in in ing ing despite despite com Is Is but but ...... what what feel feel occurs occurs k k brea • • than than something something and and past past the the in in gone gone on on has has nto nto I what what 98ttle 98ttle sooner sooner know know we we must must no no I I that that plan plan s s i To To WO time: time: this this et et Americans Americans : : continuum ol ol the the changes changes many many for for past past the the of of conc:ej)t conc:ej)t the the defined defined , , Gideon Gideon 1941 ture ture of of constant constant the the of of terms terms In In development development long long own own her her characierfzed characierfzed Architec and and , , Time, Time, Space clesslc clesslc hla hla n n I critic. critic. architecture architecture great great Ktesner Ktesner . . Ille human human and and - language language of of tenteS tenteS the the to to title title by by the the Gideon, Gideon, Sigfried Sigfried and and Eliot, Eliot, . . S . T Joyce, Joyce, of of traditionalism traditionalism ern ern g g referrin ile ile wh ic ic th Go the the evoke evoke they they deed, deed, In shapes, shapes, anguler anguler ing ing mOd the the of of tarms tarms In In understood understood beet beet be be can can perhaps perhaps of of past past the the flash their their h h Wit st. st. ioni Express AbstraC1 AbstraC1 than than Cubist Cubist more more are are and and ecestlng ecestlng r Expressionist Expressionist Abstraci Abstraci Tha Tha . . arts and and clvlllzatlons clvlllzatlons other other world world natural natural he he t than than rather rather figure figure the the and and eciure eciure it arch evolte evolte to to and and , , medieval , , Greek to to references references in in past past the the recalled recalled Others Others aeern aeern WO Th898 Th898 !' !' past of of the the g11os1s· g11os1s· • and and memories memories of of neu" neu" . . racapitulatlonlats were were time time the the of of figures figures mpottant mpottant i other other many many •o,.... •o,.... O< O< continuum continuum atyllttic atyllttic , , a a penonal make make to to order order In In done done , , Read and and , , Jung , , Freud . atages elementary elementary the the rapMI rapMI to to d d l aa 21 21 present present the the in in her her paet paet ol ol a a aynlhMla aynlhMla It It this this aays aays She She . . collagM la la l l Individua ernbryO"' ernbryO"' Individual Individual an an of of growth growth he he t ich ich wh n n I ory ory new new of of le le sty her her ln1o ln1o - of of paper paper plecee plecee other other on on rubblngs rubblngs ghoelly ghoelly he t cultural cultural century century ieth· ieth· t twen and and l l biologica h-century h-century nt ninetee their their and and drawings drawings figure figure charcoal charcoal youthful, youthful, her her - paat paat own own a a ogeny; ogeny; l y h p recepitulatee recepitulatee ny ny "ontoge of of conception conception the the her her porated porated incor he he t 1978, 1978, of of lm,,.rative lm,,.rative and and lndicatiwl lndicatiwl lm,,.rlect lm,,.rlect fying fying xempli e es es culture culture n n America NetiYe NetiYe of of recall recall hit hit described described es es auch auch orks orks w In In . . cycle future future and and presen1 presen1 the the n n i past past the the ing ing even even itt itt St . . traditions living living es es ritual ritual American American Netlve Netlve drew drew on on of of noorporst l ldee ldee her her to to a a ,,,_..ing ,,,_..ing double double added added l . . eYer Still Still anc:I anc:I Pollock Pollock , , example for for ; ; Expressionlsts Abstrecl Abstrecl the the among among how 1970.. 1970.. later later the the In In once once again again experimenting experimenting She She bagan bagan were were standard standard allusions allusions Such Such . . anc:I anc:I places times times other other of of cultures cultures lence. lence. expet expet to to elluslons elluslons her her In In and and "consciousness· "consciousness· of of patterns patterns continuous continuous human human of of orm orm f n n a o- the the d d an experience experience of of center center the the at at ,... ,... her her In In concept concept is is th conveyed conveyed hed hed ner ner Kras past." past." e e h t f f o ll ll reca tual tual rl cal cal i anthropolog , , leaguee l co her her and and Krasner Krasner . . For For 1945 of of t t ionis press x E Abstract Abstract the the states states , , example for for 'Palingenesls, 'Palingenesls, CerM!onla/ CerM!onla/ In In Aothko Aothko and and , , totheaky ascents ascents and and flights flights magic magic tic tic . . Expressionism 1943. 1943. hisahamanis Still Still in in Secret Secret of of antollhe antollhe l Guard n n I F'l:>llock F'l:>llock - Abstraci Abstraci of of themeo themeo complex complex the the n n i with -enlty -enlty found found newly newly alluded alluded lllists lllists the the ol ol moot moot which which to to ceremonies ceremonies and and tual tual ri secret secret e e in in atta They They 1970t. 1970t. the the In In nting nting i pa American American fi-t fi-t the the among among of of powers powers the the ol ol themes themes Expressionist Expressionist AbsllaC1 AbsllaC1 to to in in aga once once ere ere 1972. 1972. of of , , both both G'"11 anc:I anc:I ~/ng ~/ng Mysteriae Mysteriae es es such such W0<1 refers refers mysteries mysteries topic, topic, Ase Ase . . itality v harmonious harmonious the the forth forth and and 1971 1971 carries carries of of U.juscul• U.juscul• Pa//ngenMis, Pa//ngenMis, pattern." pattern." Orientalist Orientalist and and tone tone rel rel neut neut more more Its Its despite despite 1972 1972 ot ot stor/N stor/N My gray gray he he t Even Even color color l l flora , , at l f sae's sae's Mati and and o-), o-), l she she pts pts i manuscr c c i Celt the the of of . . work memories memories om om fr perhaps perhaps ( ing ing writ glyphlc glyphlc subliminal subliminal own own her her best best her her la la a a i Th . . own her her completely completely fusion fusion original original an an , , prOduce prOduce painting field field hard..clge hard..clge 1960s 1960s elementaries, elementaries, scrlptiYe scrlptiYe ke ke Joyce-li to to influences influences her her beyond beyond peu9d peu9d ow ow n end end absorbed absorbed , , has has rhythm Krasner Krasner vttallst vttallst F'l:>llock's F'l:>llock's and and • • ' Hofmann combine combine br111ian11y br111ian11y • • force force le le Il and and energy energy ant ant i , , rad joyous of of mage mage i l0 of of crea1e crea1e es es PaH~is PaH~is sud> sud> W0<1 Major Major . . lot1h bursts bursts or or . . .,. palmettes palmettes and and , , fronds , , IMfleta burgeoning burgeoning "flow suggesting suggesting position position IY9ntually IY9ntually that that hope hope and and hlatO human human of of pattern pattern dynamic dynamic com curvtllnear curvtllnear and and brushwork brushwork without without color color green green pure, pure, the the and and bright bright erclietypal, erclietypal, and and elemental elemental the the archaic, archaic, end end modern modern the the e e Th . . es n o er er ll sma of of multitudes multitudes r r ie earl her her as as to to opposed opposed f f o sion sion swirls swirls fu r r thef of of form form another another Is Is Here Here . . fecundity and and generation generation monumental monumental complex, complex, two two on on concentrates concentrates ng ng painti The The . . g primeval primeval in of of repreMntetion repreMntetion symbolic symbolic the the toward toward and and xpression xpression e bloom ghtforward ghtforward i stra a a as as now now conceived conceived is is anc:lverbal anc:lverbal blt1h blt1h of of theme theme ard ard eunitsoMsueJ eunitsoMsueJ ueibl ed lrr basicand the the -toward -toward Mys Mys stand Her Her of of unfolding. unfolding. Idea Idea the the expands expands further further Green Green sing sing two two Ri laces laces that that 111 111 ~ ~ KnsMr KnsMr . . her her col~ of of mosl mosl Uke Uke 1. Thill ..aey contains excerpts from mt forthcoming study, RNurr.c· - 15. Joeepll Clmpbell, ThoH9rowffho TllousondFooos(london: Abacus lion: Abotract Exprosslonl#n end the Modern Expe~. Sphere. 1975), 229. · 2. ln-lngly, two yellS later, Jec:l 7 ;;.1;;.:y ;;.1;;.:y · ~-..t BROOK BROOK Y Y STON AT AT YORK YORK W W NE Of Of UNIVERSITY UNIVERSITY TE TE A ST l l