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While happy to be employed, she was dissatisfied since she did not like working with figurative images created by other artists. As murals were created to be easily understood and appreciated by the general public, however, the abstract art Krasner produced was undesirable. Her job was to enlarge other artists' designs for large-scaled public murals. In order to continue provide for herself, she joined the Works Progress Administration's Federal Art Project in 1935, working in the mural division as an assistant to Max Spivak. Krasner supported herself as a waitress during her studies but it eventually became too difficult due to the Great Depression. Gouache study for a mural, commissioned by the WPA, 1940 She also received praise from Piet Mondrian who once told her "You have a very strong inner rhythm you must never lose it." Early career He said, 'This is so good, you would never know it was done by a woman". Hans Hofmann "was very negative" his former student said "but one day he stood before my easel and he gave me the first praise I had ever received as an artist from him. The still lifes illustrated her interest in fauvism since she suspended brightly colored pigment on white backgrounds. She typically illustrated female nudes in a cubist manner with tension achieved through the fragmentation of forms and the opposition of light and dark colors. She typically created charcoal drawings of the human models and oil on paper color studies of the still life settings. During the class, a human nude or a still life setting would be the model from which Krasner and other students would have to work. Throughout her classes with Hofmann, Krasner worked in an advanced style of cubism, also known as neo-cubism. He emphasized the two-dimensional nature of the picture plane and usage of color to create spatial illusion that was not representative of reality through his lessons. She began taking classes from Hans Hofmann in 1937, which modernized her approach to the nude and still life. In the 1930s, she began studying modern art through learning the components of composition, technique, and theory. She was very affected by post-impressionism and grew critical of the academic notions of style she had learned at the National Academy. Krasner was highly influenced by the opening of the Museum of Modern Art in 1929. There, she took a class led by George Bridgman who emphasized the human form. She also briefly enrolled in the Art Students League of New York in 1928.
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In it, Krasner depicts herself with a defiant expression surrounded by nature. She submitted it to the National Academy in order to enroll in a certain class, but the judges could not believe that the young artist produced a self-portrait en plein air.
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One image that still exists from this period is her "Self Portrait" painted in 1930, now at the Metropolitan Museum of Art. There are relatively few works that survive from this time period apart from a few self-portraits and still lifes since most of the works were burned in a fire. She also became highly skilled in portraying anatomically correct figures. īy attending a technical art school, Krasner was able to gain an extensive and thorough artistic education as illustrated through her knowledge of the techniques of the Old Masters. When Krasner attended high school, she almost didn't graduate based on her grade in art, which was the subject she attended the school for, and was only given 65 to pass the class. Krasner pursued yet more art education at the National Academy of Design in 1928, completing her course load there in 1932. There, she completed the course work required for a teaching certificate in art. After graduating, she attended the Women's Art School of Cooper Union on a scholarship. She specifically sought out enrollment at Washington Irving High School for Girls as they offered an art major. Her career as an artist began when she was a teenager.
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Education įrom an early age, Krasner knew she wanted to pursue art as a career. Lee was the youngest of six children, and the only one to be born in the United States. The couple fled to the United States to escape anti-Semitism and the Russo-Japanese War, and Chane changed her name to Anna once she arrived. (now Shpykiv, a Jewish community in what is now Ukraine). She was the daughter of Chane ( née Weiss) and Joseph Krasner, Russian-Jewish immigrants from Spykov Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) on Octoin Brooklyn, New York. 4.8 Krasner and Pollock's mutual influence on one another.