




Lee Krasner at the WPA Pier, New York City, where she was working on a WPA commission, c. 1940. Photo by Fred Prater. Smithsonian Archives of American Art.

Lee Krasner at the WPA Pier, New York City, where she was working on a WPA commission, c. 1940. Photo by Fred Prater. Smithsonian Archives of American Art.


Jackson Pollock and Lee Krasner marriage certificate, 1945 October 25. Smithsonian Archives of American Art.

Jackson Pollock and Lee Krasner, c. 1946. Photo by Ronald Stein. Smithsonian Archives of American Art

Lee Krasner at the beach, ca. 1945. Unknown photographer. Archives of American Art, Smithsonian Institution.

Untitled, 1946 Collection of Bobbi and Walter Zifkin © The Pollock-Krasner Foundation. Photo by Jonathan Urban.

Mosaic Table, 1947. Private Collection, Courtesy Michael Rosenfeld Gallery LLC, New York. © The Pollock-Krasner Foundation

Jackson Pollock and Lee Krasner in a field, c. 1949. Photo by Wilfrid Zogbaum. Smithsonian Archives of American Art

Jackson Pollock and Lee Krasner at their home in East Hampton, New York, c. 1949. Photo by Wilfrid Zogbaum. Smithsonian Archives of American Art

Composition, 1949, Lee Krasner. Oil on canvas, 38 1/16 x 27 13/16 in. Philadelphia Museum of Art, Gift of the Aaron E. Norman Fund, Inc., 1959, 1959-31-1. © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Lee Krasner, Stella Pollock and Jackson Pollock carving a turkey, 1950. Unknown photographer. Smithsonian Archives of American Art.

Jackson Pollock and Lee Krasner in front of his work, c. 1950. Photo by Wilfrid Zogbaum. Smithsonian Archives of American Art

Lee Krasner, Jackson Pollock, Dorothy Norman and Elaine and Willem de Kooning., 1950. Photo by Jack Calderwood. Smithsonian Archives of American Art

Lee and Jackson, 1950. Photo by Larry Larkin. Smithsonian Archives of American Art

Jackson Pollock, Clement Greenberg, Helen Frankenthaler, Lee Krasner, and an unidentified child at the beach in East Hampton, NY, July 1952. Unknown photographer. Smithsonian Archives of American Art

Desert Moon, 1955. Los Angeles County Museum of Art © The Pollock-Krasner Foundation.
© 2018. Digital Image Museum Associates/LACMA/Art Resource NY/ Scala, Florence.





Lee Krasner, Birth, 1956. Oil on canvas (210.8 x 121.9 cm). © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Robert Hobbs

The Seasons, 1957, Lee Krasner. Oil and house paint on canvas, 92 3/4 × 203 7/8 in. Whitney Museum of American Art, 87.7. © 2019 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Digital image © Whitney Museum of American Art / Licensed by Scala/ Art Resource, NY

Lee Krasner standing on a ladder in front of The Gate (1959) before it was completed, Springs, July or August 1959. Photograph by Halley Erskine.

Polar Stampede, 1960. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Pollock-Krasner Foundation. Image courtesy Kasmin Gallery.

Lee Krasner in her studio in the barn, Springs, 1962. Photo by Hans Namuth. Smithsonian Archives of American Art

Lee Krasner, Through Blue, 1963. Private Collection, New York City. © The Pollock-Krasner Foundation. Photo: Christopher Stach

Icarus, 1964. Thomson Family Collection, New York City. © The Pollock-Krasner Foundation, courtesy Kasmin Gallery, New York. Photo: Diego Flores.

Lee Krasner, Siren, 1966. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. © The Pollock-Krasner Foundation. Photo: Cathy Carver

Installation view of Lee Krasner: Living Colour at the Barbican Art Gallery, London featuring Combat, 1965


Lee Krasner, Palingenesis, 1971. Collection Pollock-Krasner Foundation. © The Pollock-Krasner Foundation, courtesy Kasmin Gallery, New York.

Lee Krasner, 1982, Robert Mapplethorpe. Gelatin silver print, 19 3/16 × 15 3/16 in. J. Paul Getty Museum, 2016.57.846. Gift of the Robert Mapplethorpe Foundation to the J. Paul Getty Trust and the Los Angeles County Museum of Art. © Robert Mapplethorpe Foundation

Lee Krasner cutting up her early drawings from classes with Hans Hofmann. She reused the pieces as collage material on which to paint. Image by Ray Eames.