The artist Lee Krasner who used to cut her own paintings to create collages was married to which other artist?
"influence. From 1970 to 1991 McNeil made lithographs that he printed on his own press or at the Tamarind Institute, Albuquerque, NM, where he was invited four times in the 1980s. When George McNeil was a student with Hans Hofmann, he was friends with fellow students Giorgio Cavallon, Ray ""Buddha"" Kayser (Eames), Perle Fine, William Freed, Lee Krasner, Mercedes Matter, John Opper and Lillian Orlowsky, sharing a studio with Krasner and her then partner Igor Pantuhoff; through Krasner he met Jackson Pollock. He was also friendly with Willem de Kooning, and Esteban Vicente. After serving as Hans Hofmann's monitor and"
"multiplied its presale estimate more than fourfold as it ended its upward course at $1.9 million. Lee Krasner Lenore ""Lee"" Krasner (October 27, 1908 – June 19, 1984) was an American abstract expressionist painter in the second half of the 20th century. She is one of the few female artists to have had a retrospective show at the Museum of Modern Art. Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) on October 27, 1908 in Brooklyn, New York. Krasner was the daughter of Chane (née Weiss) and Joseph Krasner. Her parents were Russian-Jewish"
"Lee Krasner Lenore ""Lee"" Krasner (October 27, 1908 – June 19, 1984) was an American abstract expressionist painter in the second half of the 20th century. She is one of the few female artists to have had a retrospective show at the Museum of Modern Art. Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) on October 27, 1908 in Brooklyn, New York. Krasner was the daughter of Chane (née Weiss) and Joseph Krasner. Her parents were Russian-Jewish immigrants, from Shpykiv, a Jewish community in what is now Ukraine. Her parents fled to the"
"along with personal frustration, his alcoholism deepened. The two artists met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar, yet intrigued with Pollock's work and went to his apartment, unannounced, to meet him following the gallery. In October 1945, Pollock and Lee Krasner were married in a church with two witnesses present for the event. In November, they moved out of the city to the Springs area of East Hampton on the south shore of Long Island. With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame house and barn at"
"up to date with what contemporary art should be. Krasner was often considered to teach her husband in the dominant tenets of modernistic painting. Pollock was then able to change his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became the one judge he could trust. At the beginning of the two artists' marriage, Pollock would entrust his counterpart's opinions on what worked and what did not in his pieces. Lee Krasner was also responsible for introducing him to many collectors, critics, and artists, including Herbert Matter, who would help further his career as"
"they both exhibited at the McMillen Gallery. Krasner was intrigued by his work and the fact she did not know who he was since she knew many abstract painters in New York. She went to his apartment to meet him. By 1945, they moved to The Springs on the outskirts of East Hampton. In the summer of that year, they got married in a church with two witnesses present. While the two lived in the farmhouse in The Springs, they both continued creating art. They worked in separate studio spaces on their property. Krasner worked in an upstairs bedroom in"
"Lord, for creating me in Your image'; and if you are a woman you say, 'Thank You, O Lord, for creating me as You saw fit.'"" She also began reading existentialist philosophies during this time period, causing her to turn away from Judaism even further. While she married Pollock in a church, Krasner continued to identify herself as Jewish but decided to not practice the religion. Her identity as a Jewish woman has affected how scholars interpret the meaning of her art. At a 2003 Christie's auction in New York, Lee Krasner's horizontal composition in oil on canvas, ""Celebration"" (1960),"
"as a way to move towards Pollock's ""I am nature"" technique in order to reproduce nature in her art. Lee Krasner's largest challenge as an artist was to establish a separation between herself and her husband that was not strictly the otherness of a woman. In 1955, Pollock painted ""Scent"" and ""Search,"" his last two paintings. He did not paint at all in 1956, but was making sculptures at Tony Smith's home: constructions of wire, gauze, and plaster. Shaped by sand-casting, they have heavily textured surfaces similar to what Pollock often created in his paintings. Pollock and Krasner's relationship began"
"Pollock-Krasner Foundation The Pollock-Krasner Foundation was established in 1985 for the purpose of providing financial assistance to individual working artists of established ability. It was established at the bequest of Lee Krasner, who was an American abstract expressionist painter and the widow of fellow painter Jackson Pollock. Krasner left approximately $23 million in cash, securities and art to the foundation. The foundation provides grants to artists internationally based on ""recognizable artistic merit and demonstrable financial need"". The foundation also gives out Lee Krasner Awards. These awards are based on the same criteria as grants but also recognize a lifetime of"
"an emerging artist. John Bernard Myers, a noted art dealer, was once quoted to say that ""there would never have been a Jackson Pollock without a Lee Pollock"", whereas Fritz Bultman, a fellow painter, had referred to Pollock as Krasner's ""creation, her Frankenstein"", both men recognizing the immense impact Krasner had on Pollock's career. Jackson Pollock's influence on his wife's, Lee Krasner's, artwork is often discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her husband's chaotic paint splatters in her own work. There are several accounts where Krasner intended to use her own intuition,"
"colors, hard and soft lines, organic and geometric shapes, and structure and improvisation through these collages. These collage paintings represent Krasner's turn away from nonobjective abstraction. From this period onwards, she created metaphorical and content-laden art which alludes to organic figures or landscapes. From 1951 to 1953, most of her works are made from ripped drawings completed in black ink or wash in a figurative manner. By ripping the paper instead of cutting it, the edges of the figures are much more soft in comparison to the geometric and hard-edged shapes in her previous works. From 1953 to 1954, she"
"painter Lee Krasner, left New York City in 1945 and moved to the Springs, East Hampton, Long Island. Clyfford Still, a Californian who at the end of 1945 moved to New York, soon joined the Uptown Group and became associated with the prestigious uptown gallery: ""The Art of This Century"". Thomas B. Hess, managing director of Art News described the Uptown Group: From January 5 to February 6, 1943, the gallery hosted the first of two exhibitions with exclusively women artists. ""Exhibition by 31 Women"" was juried, an unusual practice outside of Europe at the time, by a group that"
"She gave birth to two children, Michael and Tara Glenn, and had six grandchildren including the artist Chynna Rose, Cierra Marie, Alexandria Rose, Caleb Michael, Gabriel Mathejis, and Alexander Shaffer. She also had a brother, Thomas McEniry III, and twin sisters Karen Diggs, and Kathy Halderman. She was married to Michael Glenn Sr. in 1976. They subsequently divorced in 1981. Karol took up painting at this point and continued to improve her technique, while raising a family. She had two other marriages, to Lee Stricker and Timothy Stricker during the late 1980s and early 1990s. When her husband Timothy went"
"During the 1940s her mother Marianne Schapira divorced her father and met and married the Russian-born American painter John D. Graham (who was a mentor figure to artists such as Jackson Pollock, Willem de Kooning, and Arshile Gorky). Graham also became a mentor to Ileana and Leo by introducing them to his artist friends in the New York art world. In 1950, the couple curated a show of young American and European painters which included both Jean Dubuffet and Mark Rothko. After divorcing Castelli (with whom she remained lifelong friends) in 1959 she married Polish-born Michelangelo scholar Michael Sonnabend whom"
"marriages, including to producer/screenwriter Sidney Harmon (married 1934–1940) and financier/art collector Joseph H. Hirshhorn (married 1947–1956). With Hirshhorn, she adopted two daughters, named Amy and Jo Ann. Lily Harmon Lily Harmon (born Lillian Perelmutter; 1912–1998) was an American visual artist. She studied at the Yale School of Fine Arts in New Haven, and then went on to the Académie Colarossi in Paris, and lastly at the Art Students League of New York. Harmon illustrated books in the period 1945–1976, including by such authors as Franz Kafka, Andre Gide, Jean-Paul Sartre, Thomas Mann, and Edith Wharton. Harmon was the subject of"
"artist Jacob Lawrence, photography curator and historian Beaumont Newhall, Jean Varda, composer John Cage, choreographer Merce Cunningham, artist Willem de Kooning, and R. Buckminster Fuller. According to Asawa, the dance courses she took with Merce Cunningham were especially inspirational. Asawa married architect Albert Lanier in July 1949. The couple had six children: Xavier (1950), Aiko (1950), Hudson (1952), Adam (1956), Addie (1958), and Paul (1959). Albert Lanier died in 2008. Asawa died of natural causes on August 5, 2013, at her San Francisco, California, home at the age of 87. In the 1950s, Asawa experimented with crocheted wire sculptures of"
"to reexamine and rework their style in order to stay relevant as they grow older. This collage series was very well received by a large audience when they were exhibited in 1977 at the Pace Gallery. Although many people believe that Krasner stopped working in the 1940s in order to nurture Pollock's home life and career, she never stopped creating art. Throughout her career, she went through periods of struggle where she would experiment with new styles that would satisfy her means for expression and harshly critique, revise, or destroy the work she would produce. Because of her self-criticism, there"
"830 Springs Fireplace Road. Pollock converted the barn into a studio. In that space, he perfected his big ""drip"" technique of working with paint, with which he would become permanently identified. When the couple found themselves free from work they enjoyed spending their time together cooking and baking, working on the house and garden, and entertaining friends. Lee Krasner's influence on her husband's art was something critics began to reassess by the later half of the 1960s due to the rise of feminism at the time. Krasner's extensive knowledge and training in modern art and techniques helped her bring Pollock"
"absorbed fantastical elements into the fabric of everyday life. From 1952 to 1953, Koerner was Artist-in-Residence at Pennsylvania College for Women (now Chatham University) in Pittsburgh, PA, where he met his second wife, Joan Marlene Frasher (born 1932, Escanaba, Michigan), a violinist and undergraduate music major at the College. He settled in Pittsburgh's Squirrel Hill neighborhood, which through its geography of hills and bridges, and its long-established Jewish community, reminded him of Vienna. He used friends, family, and students as models. Although a well-known personality in Pittsburgh, Koerner's pictures—enigmatic, comical, and often monumental in scale—baffled many art critics. From 1955"
"1881, and she remained an active member of the Impressionist circle until 1886. In 1886, Cassatt provided two paintings for the first Impressionist exhibition in the US, organized by art dealer Paul Durand-Ruel. Her friend Louisine Elder married Harry Havemeyer in 1883, and with Cassatt as advisor, the couple began collecting the Impressionists on a grand scale. Much of their vast collection is now in the Metropolitan Museum of Art in New York City. Cassatt also made several portraits of family members during that period, of which ""Portrait of Alexander Cassatt and His Son Robert Kelso"" (1885) is one of"
"of American Art. They were later archived with Lee Krasner's papers. The Archives of American Art also houses the Charles Pollock papers, which include correspondence, photographs, and other files relating to his brother Jackson Pollock. A separate organization, the Pollock-Krasner Foundation, was established in 1985. The foundation functions as the official estate for both Pollock and his widow Lee Krasner, but also under the terms of Krasner's will, serves ""to assist individual working artists of merit with financial need"". The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society. The Pollock-Krasner House and Studio is owned and"
"Lene Schneider-Kainer Lene Schneider-Kainer, born Lene Schneider (1885 - 1971), was a Jewish-Austrian painter, daughter of the painter Sigmund Schneider, noted for her illustration of """"Lukian:Hetärengespräche. Mit Illustrationen von Lene Schneider-Kainer und einem Nachwort von Sabine Dahmen"""". She started her art studies in Vienna, and continued in Munich, Paris and Amsterdam. During a stay in Paris she met her future husband, Ludwig Kainer, a doctor, painter, graphic designer, poster artist and stage designer from Munich, whom she married in 1910. From about 1911 the couple belonged to a circle of artists and intellectuals that included Arnold Schönberg, Franz Werfel, Herwarth"
"for her illustrations created for advertisements and was also a sought-after portrait painter. She befriended Ulla Poulsen (1905-2001), a famous Danish ballerina, who became a frequent model for her paintings. She and her spouse were also close friends with artist Rudolph Tegner and his wife Elna. She met fellow artist Lile Elbe – then known as Einar Wegener – at art school. They married in 1904, when she was 18 and her spouse was 22. They traveled through Italy and France, eventually settling in Paris in 1912. The couple immersed themselves in the Bohemian lifestyle of the time, befriending many"
"Kasper became the head designer for the company and eventually became Vice-President for the company, the Lesley Fay Co. Inc. He left the company in 1985. He designed clothes for Joanne Carson, the wife of talk show host Johnny Carson, who described his clothes as being both feminine and sexy. Mr. Kasper married Betsey Pickering in 1955, divorced 1958. He married Jondar Conning in 1979. In 2011 (January 21 - May 1) his collection of Drawings and Photographs were exhibited at the Morgan Library in the exhibit Mannerism and Modernism: The Kasper collection of Drawings and Photographs. Over a lifetime"
"and Paris 2010, London 2012. She was sponsored by the Arts Council for her show at The Future Gallery, off Charing Cross Road, in January 2010. She designed a wallpaper collection, which is archived at the Victoria and Albert Museum in London, and was in a touring exhibition with the Whitworth Gallery from 2010 to 2012. Garner occasionally performs live acoustic music with her husband Emit Bloch, with whom she lives in London and San Francisco. They have one daughter. Kate Garner Kate Garner (born Kathryn Mary Garner) is an English photographer, fine artist and singer. Born in Wigan, Lancashire"
"an academic and creative project on homemaking (geographic, architectural, and psychic) in Vienna from Otto Wagner to the present day. Based at Harvard, the project has produced the documentary film directed by Koerner, ""The Burning Child. In 2003, Koerner married Margaret K. Koerner (born Margaret Lendia Koster), also an art historian; a previous marriage ended in divorce. Joseph Koerner Joseph Leo Koerner (born June 17, 1958) is an American art historian and filmmaker. He is currently the Victor S. Thomas Professor of the History of Art and Architecture and, since 2008, Senior Fellow at the Society of Fellows at Harvard"
"City and Philadelphia. In 1954 she settled in Bolivia, where she assisted her son in establishing a textile factory producing Native American designs for export to the United States. Lene Schneider-Kainer Lene Schneider-Kainer, born Lene Schneider (1885 - 1971), was a Jewish-Austrian painter, daughter of the painter Sigmund Schneider, noted for her illustration of """"Lukian:Hetärengespräche. Mit Illustrationen von Lene Schneider-Kainer und einem Nachwort von Sabine Dahmen"""". She started her art studies in Vienna, and continued in Munich, Paris and Amsterdam. During a stay in Paris she met her future husband, Ludwig Kainer, a doctor, painter, graphic designer, poster artist and"
"Rudolf Hausner Rudolf Hausner (Vienna, 4 December 1914 – 25 February 1995) was an Austrian painter, draughtsman, printmaker and sculptor. Hausner has been described as a ""psychic realist"" and ""the first psychoanalytical painter"" (Gunter Engelhardt). Of Jewish origins, Hausner studied at the Academy of Fine Arts in Vienna from 1931 until 1936. During this period he also traveled around Europe, visiting England, France, Italy, Greece, Turkey, and Egypt. After he was designated a 'degenerate' artist in 1938, exhibition of his work was banned in Germany. He was a soldier from 1941 until 1945. In 1942 he married Grete Czingely. Before"
"figurative automatic paintings she made. The Betty Parsons show was the first solo exhibition Krasner displayed her works at since 1945. After the exhibition, Krasner used the color field paintings to make her collage paintings. By 1951, Krasner started her first series of collage paintings. To create these images, Krasner pasted cut and torn shapes onto all but two of the large-scale color field paintings she created for the Betty Parson's exhibition in 1951. This period marks the time when Krasner stopped working on an easel since she created these works by lying the support on the floor. To make"
"and was killed during a military operation. In 1947, she married Samuel Zacks, a Canadian economist and art collector, whom she met during her stay in Switzerland. After marrying, the couple began to collect art items from the 19th century and the 20th century, mainly of French, Canadian and Israeli artists such as Gauguin, Rodin, Picasso, Henri Matisse, Kandinsky and Chagall. They also acquired art by Israeli artists such as Marcel Janco, Mordechai Ardon, Reuven Rubin and Anna Ticho, and art of relatively unknown artists at the time of the purchase such as Ofer Lellouche, Yigal Tumarkin and Joseph Zaritsky."
"with colleague Josephine Myers-Wapp; they performed at the White House and at the 1968 Summer Olympics with their students. In 1970, she was one of two women among eight diverse artists featured in an ABC documentary, ""With These Hands: The Rebirth of the American Craftsman,"" along with Paul Soldner, Peter Voulkos, Dorian Zachai (the other woman artist), Clayton Bailey, James Tanner, Harry Nohr, and J. B. Blunk. Otellie Pasiyava married Hopi jewelry designer Charles Loloma in 1947. They divorced in 1965. Otellie Loloma died in 1992, age 70. Works by Otellie Loloma are included in the permanent collections at the"
"collection and reinterpreted the image in the video for Athens band R.E.M.'s song ""Low"" from the album ""Out of Time"". Gardner's work bears a strong resemblance to that of her husband, William-Adolphe Bouguereau Elizabeth Jane Gardner Elizabeth Jane Gardner (October 4, 1837 – January 28, 1922) was an American academic and salon painter, who was born in Exeter, New Hampshire. She was an American expatriate who died in Paris where she had lived most of her life. She studied in Paris under the figurative painter Hugues Merle (1823–1881), the well-known salon painter Jules Joseph Lefebvre (1836–1911), and finally under William-Adolphe"
"a retrospective show at the Museum of Modern Art. The other three women artists are Louise Bourgeois (MoMA retrospective in 1982), Helen Frankenthaler (MoMA retrospective in 1989) and Elizabeth Murray (MoMA retrospective in 2004). Her papers were donated to the Archives of American Art in 1985; they were digitized and posted on the web for researchers in 2009. After her death, her East Hampton property became the Pollock-Krasner House and Studio, and is open to the public for tours. A separate organization, the Pollock-Krasner Foundation, was established in 1985. The Foundation functions as the official Estate for both Lee Krasner"