Lee Krasner
Page 58
48. Brad Gooch, City Poet: The Life and Times of Frank O’Hara (New York: Alfred A. Knopf, 1993), 307.
49. Signa Gallery Papers, AAA, reel 3984, frame 29, includes price list for show.
50. The Artists Vision was on view from May 30 to July 19, 1958. Also showing were Enrico Donati, Philip Guston, Franz Kline, Richard Pousette-Dart, Day Schnabel, and Theodoros Stamos.
51. 2005-Housley, 177.
52. 2005-Housley, 176. See also 2004-Stevens, 382. Lisa de Kooning, whom her father subsequently adopted, was born January 29, 1956.
53. David Slivka to the author, 9-29-2006. Summer rental confirmed in 2004-Stevens, 406.
54. 1978-Howard. Painted in 1956, the work was misdated in the catalogue as 1951.
55. Martha Jackson to LK, letter of August 8, 1960, apologizing for the delay in payment to her.
56. 2005-Howard, 226.
57. “Signature Plates,” It is, Autumn 1958, 22, 29. The others were George Cavallon (with two plates), Ray Parker, Joan Mitchell, Edward Dugmore, Peter Busa, Michael Goldberg, Michael Loew, Robert Richenburg, Paul Jenkins, Alfred Leslie, Perle Fine, Sidney Gordin, Israel Levitan, Patricia Passloff, and Jack Tworkov
58. Oppositie Bowling Green, Battery Park, and the harbor of New York.
59. 1959-Friedman, 57; included Krasner’s mosaic table.
60. 1979-Munro, 108.
61. Will Barnet to the author, 3-16-2010.
62. 1959-Friedman, 26. Stein became a sculptor, then began flying planes, and drank to excess, distressing Krasner. After her death, he converted to Catholicism and painted religious images.
63. 1959-Friedman, 26.
64. 1968-Campbell, 62.
65. 1981-Wallach.
66. 1978-Howard.
67. 1978-Howard.
68. 1972-Rose-1.
69. 1978-Howard. Through Ossorio, Krasner could have known that death, in Chinese Buddhist culture, “may be considered as a gate through which the consciousness departs from one life and begins the journey to a new life,” according to Dr. Yutang Lin. “Crossing the Gate of Death in Chinese Buddhist Culture,” June 17, 1995, Tan Wah Temple, Honolulu, Hawaii, online at http://www.originalpurity.org/gurulin/efiles/mbk16.html as of 3-22-2010.
70. 1978-Howard.
71. 2006-Marquis, 174.
72. Spencer [Samuels] to “Lee Pollock,” letter of August 1, 1959, LKP, AAA.
73. 2006-Marquis, 172.
74. Clement Greenberg to the editor, Arts Magazine, vol. 98, no. 3, November 1973, 71; corrected draft in CG papers, Getty.
75. Clement Greenberg to the editor, Arts Magazine, letter of May 20, 1973, CG Papers, Getty. At the time, as noted in Greenberg’s hand on this typed carbon copy: “Not sent? or was it sent, at time [Gregory] Battcock was editior of Arts…” is written on the draft in Greenberg’s hands. In fact, as noted above, letter was published in issue of November 1973, 71.
76. Clement Greenberg to the editor, Arts Magazine, letter of May 20, 1973, CG Papers, Getty Research Institute.
77. Clement Greenberg to Florence Rubenfeld, unedited transcript of interview, 2/16/1990, CG Papers, Getty; her abbreviations are written out in full here. See also 1997-Rubenfeld.
78. Clement Greenberg to Florence Rubenfeld, unedited transcript of interview, 2/16/1990, CG Papers, Getty; her abbreviations are written out in full here. See also 1997-Rubenfeld.
79. Clement Greenberg to Florence Rubenfeld, unedited transcript of interview, 2/16/1990, CG Papers, Getty; her abbreviations are written out in full here. See also 1997-Rubenfeld.
80. Clement Greenberg to Florence Rubenfeld, unedited transcript of interview, 2/16/1990, CG Papers, Getty; her abbreviations are written out in full here. See also 1997-Rubenfeld.
81. Clement Greenberg to Florence Rubenfeld, unedited transcript of interview, 2/16/1990, CG Papers, Getty; her abbreviations are written out in full here. See also 1997-Rubenfeld.
82. 1983-Rose, 155, 157.
83. LK told this account over and over again, in conversation with the author from 1978 to 1982.
84. 1981-Langer.
85. Identified in the catalogue as “Pittura,” and dated 1958, this work is recognizable from the catalogue, which Krasner kept among her papers. LKCR 139, omits this exhibition from CR283, although it is clearly included in Krasner’s papers, AAA, roll 3776, frame 1022.
86. Ted Dragon quoted in 1998-Gaines, 146–49. See also articles in the East Hampton Star on February 26, 1959, and July 16, 1959, and in Newsday for February 25, 1959.
87. Ted Dragon quoted in 1998-Gaines, 149.
88. Grace Hartigan quoted in 1998-Gaines, 152.
89. 1998-Gaines, 153.
90. Ted Dragon quoted in 1998-Gaines, 146.
91. Ted Dragon quoted by M. G. Lord, “Lee Krasner, Before and After the Ball Was Over,” NYT, August 27, 1995, H31. The following quotation is also from this source.
Chapter 15: A New Alliance, 1959–64 (pp. 339–366)
1. Richard Howard to the author, interview of 1-18-2007.
2. Cile Downs to the author, interview of 8-21-2007.
3. According to his widow, David Gibbs was born May 22, 1926, and died June 8, 1998. He married his last wife, Angela, in 1982. His age is stated elsewhere with several variants.
4. “Atticus among the Art Dealers,” Sunday Times (London), May 15, 1960, 9.
5. David Gibbs, quoted in 1995-Gabor, 86.
6. David Gibbs sold Cool White through the Robert Miller Gallery, which in turn sold it to the National Gallery of Australia in Canberra.
7. Bryan Robertson, Jackson Pollock (New York: Harry N. Abrams, 1960).
8. “Atticus among the Art Dealers,” Sunday Times (London), May 15, 1960, 9.
9. David Gibbs to LK, letter from London with envelope postmarked December 21, 1959, on stationery of the Guards Club. Neither Gibbs’s widow (who was at least his third wife—after the mother of his children and Geraldine Stutz, from whom he was divorced after twelve years) nor his daughter from the marriage that was then breaking up wish to have Gibbs’s letters quoted here. Personal letters from Gibbs to LK, PKHSE.
10. David Gibbs to LK, letter with envelope postmarked December 21, 1959.
11. “Atticus among the Art Dealers,” Sunday Times (London), May 15, 1960, 9.
12. David Gibbs to Clement Greenberg, letter of May 6, 1960, copy sent to LK by Gibbs, PKHSC. All of the following discussion refers to this long letter, which Gibbs’s family refuses to have quoted. The Newman show opened on March 10, 1959.
13. Greenberg was accompanied by his wife, the former Janice Van Horne, then known as Jenny. They met Gibbs and his wife.
14. David Gibbs to Clement Greenberg, letter of 5-6-1960, copy sent to LK by Gibbs, PKHSC. Gibbs also told how he tried to meet art dealers Sam Kootz and Sidney Janis and how he had gone to Washington to meet Morris Louis, one of the artists whom Greenberg had promoted, giving him the second solo show at French & Company.
15. JP Papers, AAA, http://www.aaa.si.edu/collectionsonline/Polljack/container285922.htm. Gibbs’s “business” correspondence is all in this online file.
16. Author’s interview with Cile Downs, 8-21-2007.
17. Richard Howard to the author, interview of 1-18-2007.
18. Sanford Friedman to the author, interview of 1-17-07.
19. Sanford Friedman to the author, interview of 1-17-07.
20. 1997-Gabor, 89.
21. David Gibbs to LK, letter of May 7, 1960, Collection PKHSC.
22. “Atticus among the Art Dealers,” Sunday Times (London), May 15, 1960, 9.
23. Clement Greenberg to Paul Jenkins, letter of 9-1-1960, Paul Jenkins Papers, AAA.
24. 1967-Glaser.
25. Vivien Raynor, “ART; In Kent: 2 Galleries, 3 Sites, 4 Shows,” NYT, August 15, 1993.
26. “Atticus among the Art Dealers,” Sunday Times (London), May 15, 1960, 9.
27. Roberta Smith, “Frank Lloyd, Prominent Art Dealer Convicted in the ’70s Rothko Scandal, Dies at 86,” NYT, April 8, 1998. L
loyd lost both of his parents at Auschwitz, though his non-Jewish mistress and his son survived in Austria.
28. By the early 1970s, Lloyd had obtained total control of Marlborough after Fisher, formerly a dealer of rare books, started his own gallery.
29. Howard Wise to LK, letter of February 23, 1960, LKP, AAA.
30. Howard Wise to LK, letter of August 8, 1960, LKP, AAA, reel 3771, frame 601. See also L. M. Angeleski to LK, letter of July 19, 1960, LKP, AAA.
31. See Howard Wise interview with Paul Cummings, February 2, 1971, AAA.
32. “In the Country,” The New Yorker, September 3, 1960, LKP, AAA, reel 3776, frame 1023. The show was on until September 15 and was the gallery’s third that summer.
33. 1960-Rago, 31.
34. 1972-Rose-1.
35. 1972-Rose-1.
36. 1968-Wasserman-2, 43.
37. 1978-Howard.
38. 1999-Friedman, 18.
39. 1967-Seckler.
40. 1978-Howard; LKCR, 186 and 192, claims inexplicably and without documentation that Howard named both of these works.
41. 1978-Howard.
42. LK to 1967-Seckler.
43. Ralph Waldo Emerson, “Circles,” 1841, reprinted in Ralph Waldo Emerson, Essays and Lectures (New York: Library of America, 1983), 401–14.
44. LK to the author, 1980; 1978-Howard; 1967-Seckler.
45. Stuart Preston, “Art: Allusive Portraits,” NYT, November 19, 1960, 43.
46. Emily Genauer, “Artists Turning to Dark Myths,” New York Herald Tribune, November 20, 1960, 21.
47. [V.R.] Vivien Raynor, “Lee Krasner,” Arts Magazine, vol. 35, January 1961, 54; a hand-annotated copy of this review given to the author by LK.
48. [V.R.] Vivien Raynor, “Lee Krasner,” Arts Magazine, vol. 35, January 1961, 54.
49. [V.R.] Vivien Raynor, “Lee Krasner,” Arts Magazine, vol. 35, January 1961, 54. Jeffrey Grove, LKCR, 315, is mistaken in calling “Irving Sandler, the sole critic who reviewed both shows” “of the Umber and White series, in 1960 and 1962.”
50. I.H.S. [Irving H. Sandler], “Lee Krasner’s,” Art News, January 1961, 15; a hand-annotated copy of this review given to the author by LK.
51. I.H.S. [Iriving H. Sandler], “Lee Krasner’s,” Art News, January 1961.
52. 1975-Nemser-2, 6.
53. 1973-Nemser, 47.
54. Arthur Rimbaud, A Season in Hell (Norfolk, Conn.: New Directions, 1939), trans. by Delmore Schwartz, 15. Several writers on Krasner have cited these lines and referred to Schwartz’s translation, while quoting from an unacknowledged later translation. No one has remarked, however, that to name her picture, she used a translation other than Schwartz’s. The writers who failed to give the correct Schwartz translation, include LKCR, 192 for entry CR 360; 1995-Friedman, 71 (who first cited and perhaps himself translated the most repeated translation); 1979-Munro, 111; 1987-Solomon, 114; 1989-Naifeh, 390; 1993-Hobbs, 22 and 96, n. 23, and 1999-Hobbs, 37 and 194, n. 19, cites the second (bilingual) edition of Schwartz’s translation and gives two different versions of these lines in his two books, only the former of which corresponds to Schwartz’s second published translation of this poem. In the latter, Hobbs dates the Schwartz translation as 1932, years before it existed, and gives a page number of 27, which actually refers to the second edition, published in 1941, though the copyright page still stated 1939. On the other hand, 1983-Rose, 97, and 1995-Gabor, 58, correctly give the lines as Schwartz translated them in the 1939 edition.
55. Richard Howard to the author, October 2010, insists that he did not name this painting. Both 1979-Howard, the published version of this interview with Krasner, and the unpublished version support this assertion.
56. 1967-Seckler; despite this interview and one published by Howard quoted above, Landau in LKCR, CR360, 192, says that Howard renamed this painting, when LK named it herself.
57. David Gibbs to LK, at 147 East Seventy-second Street, New York City, telegram of March 23, 1961.
58. W. E. Johnson, “Modern North American Painting,” Guardian (London), May 1, 1961, 7. Clipping sent to Krasner by “Margie & Jerry Weinstock via Epsteins,” LKP, AAA.
59. Harold Rosenberg, “The Search for Jackson Pollock,” Art News, 59, no. 10, February 1961, 58–60. Bryan Robertson, Jackson Pollock (New York: Harry N. Abrams, 1960).
60. 1960-Robertson, 36.
61. 1952-Rosenberg, 23.
62. 1999-Friedman, 18–19.
63. 1999-Friedman, 18–19.
64. 1960-Robertson, jacket copy.
65. 2004-Howard, 225.
66. 2004-Howard, 225, who says Ossorio suggested James, but 1999-Friedman, says Fritz Bultman made the suggestion; his wife, Jeanne, had worked for James.
67. 2004-Howard, 225. Krasner gave these garments to the Metropolitan Museum of Art’s costume collection.
68. 1999-Martin, 8.
69. Bill Cunningham quoted in 1999-Martin, 13.
70. 2004-Howard, 225.
71. All information comes from documents in LKP, AAA.
72. LKCR 341 and 344. These works were illustrated as number 9 and 10 in the exhibition catalogue.
73. Anita Brookner, review of “The New New York Scene,” in Burlington Magazine, vol. 103, 1961, reprinted in 1990-Shapiro, 406.
74. Edward Ranzal, “Art Patron Sues Pollock’s Widow,” NYT, June 9, 1961, 35.
75. Betsy Wittenborn Miller to the author, 1-03-2007.
76. 1961-Tenke, 37.
77. 1961-Tenke, 37.
78. Gerald Dickler to David Gibbs, LKP, AAA.
79. I.H.S. [Irving H. Sandler], “Lee Krasner’s,” Art News, March 1962, 12–13, photocopy given to the author, annotated in LK’s hand. Sandler was also reviewing for the New York Post, where on April 7 or 8, 1962, he repeated his own material, reiterating “explicit symbols such as fetishistic eyes have been eliminated” and “abandoned pictures now celebrate the act of painting rather than a mythological content.” See LKP, AAA, reel 3776, frame 1037.
80. Brian O’Doherty, “Krasner Works Have Sense of Activity—Four Other Abstractionists Exhibit,” NYT, 3-14-1962. Vivien Raynor, “Lee Krasner,” Arts Magazine, May–June 1962, 100–101.
81. Gerald Dickler to David Gibbs, letter of September 14, 1962, LKP, AAA.
82. Sanford Friedman to David Gibbs, letter of January 22, 1963, PKHSC.
83. Quoted by 1999-Friedman, 20, recorded in his journal January 29, 1963.
84. Sanford Friedman to David Gibbs, now of the Marlborough Gallery, February 3, 1963, PKHSC.
85. Sanford Friedman to David Gibbs, now of the Marlborough Gallery, February 3, 1963, PKHSC.
86. Sanford Friedman for LK to David Gibbs, now of the Marlborough Gallery, February 20, 1963, PKHSC.
87. Howard Wise to LK, Letter of 7-15-1963, LKP, AAA, confirms this.
88. Ronald Stein to David Gibbs, letter of April 19, 1963, copy in LKP, AAA, roll 3771.
89. 1963-Zinsser, 9, refers to “The Springs,” but locals say “Springs,” as I have elsewhere.
90. 1963-Zinsser, 9.
91. 1963-Zinsser, 9.
92. See 2009-Valliere and some of his interviews in 2000-Harrison, ed. My own research and observations do not always concur with Valliere’s assertions. For example, he claims Krasner sold her nephew the house adjoining hers in Springs, when, in fact, it was a wedding gift, as confirmed by Frances Patiky Stein.
93. See LKCR, 208, CR 390–400.
94. 1964-Seckler.
95. 1979-Novak.
96. 1979-Novak. For the text of this prayer, see chapter 1.
97. 1979-Novak.
98. 1981-Langer.
99. 1979-Munro, 105. LK told this story to more than one interviewer, but this is the most complete version recorded.
100. Barnett Newman quoted online at: http://www.cca.qc.ca/en/collection/922-a-model-for-a-synagogue-by-barnett-newman.
101. Barbara Rose to the author, interview of 10-19-2006.
102. Barbara Rose, American Art Since 1900 (New York
: Frederick A. Praeger, Publishers, Inc., 1967). Barbara Rose, “American Great: Lee Krasner,” Vogue, vol. 159, June 1972, 118–21, 154. Barbara Rose, “The Best Game Is the End Game,” New York, vol. 6, April 30, 1973, 92.
103. Terence Netter to the author, 1-16-2009.
104. Terence Netter to the author, 1-16-2009.
105. Terence Netter quoted by M. G. Lord, “Lee Krasner, Before and After the Ball Was Over,” NYT, August 27, 1995.
Chapter 16: Recognition, 1965–69 (pp. 367–388)
1. As late as 1981, organizations called Double X and Arts Coalition for Equality demonstrated against LACMA and Tuchman specifically by showing up at the opening of a show called “Seventeen Artists of the Sixties” wearing Tuchman masks as a protest against his failure to include any women or minority artists. See 2007-Levin, 119.
2. 1965-Newman, 262-63.
3. 1965-Newman, 263.
4. 1975-Nemser-2, 6.
5. Lee Krasner, page of handwritten notes headed “Forest No. II (Collage) 1954 1965),” LKP, AAA, roll 3774, frame 703.
6. Rena (Rusty) Seymour Kanokogi to the author, interview of 6-18-2008.
7. See LKCR, 219 for a chronicle of these name changes.
8. Other twentieth-century American artists loved Melville, notably Edward Hopper, who read everything Melville wrote during the summer of 1941 and named a painting, The Lee Shore, after a chapter in Moby-Dick.
9. This history is from correspondence and photographs with canceled titles in LK’s papers. For a list of all of these titles and their history, see LKCR, numbers 412 through 418.
10. Sanford Friedman to the author, interview of 1-17-2007.
11. Terence Netter to the author, interview of 1-16-2009, referring to a time he was working at the church, circa 1966.
12. “Close-Up/A Jesuit Makes a ‘Painful, Purifying’ Decision,” Life, October 25, 1968, 46.
13. Terence Netter to the author, interview of 1-16-2009.
14. These lectures took place in 1968.
15. See Brad Gooch, City Poet: The Life and Times of Frank O’Hara (New York: Alfred A. Knopf, 1993), 341.
16. 1965-Robertson, 3.
17. 1965-Robertson, 4.
18. Clement Greenberg interviewed by Ruth Ann Appelhof, on May 29, 1975. Ruth Ann Appelhof, “Lee Krasner: The Swing of the Pendulum,” M.A. thesis, Syracuse University, 1975, 4.