Lee Krasner Quotes

The key is what is within the artist. The artist can only paint what she or he is about.

With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner, to sit on the back porch and look at the light. No need for talking. For any kind of communication.

I think, if one is a painter, all you experience does come out when you're painting.

I went into my own black-out period which lasted two or three years where the canvases would simply build up until they'd get like stone and it was always just a gray mess. The image wouldn't emerge, but I worked pretty regularly. I was fighting to find I knew not what, but I could no longer stay with what I had.

As I say, I as an abstract artist was active politically.

My own image of my work is that I no sooner settle into something than a break occurs. These breaks are always painful and depressing but despite them I see that there's a consistency that holds out, but is hard to define.

The Jumble Shop would be one place where we'd sometimes accumulate down in the Village. I think it might be just a place that's unknown that was right around the corner from wherever it was that we met.

Well, I'd say that the beginning of this thing came through with Art of This Century, Peggy Guggenheim's, where she opened this gallery and began showing some things that caused a little talk, amongst a lot of other things.

My studio was on 9th Street between University and Broadway.

I never violate an inner rhythm. I loathe to force anything. I don't know if the inner rhythm is Eastern or Western. I know it is essential for me. I listen to it and I stay with it. I have always been this way. I have regards for the inner voice.

We get used to a certain kind of colour of form or format, and it's acceptable. And to puncture that is sticking your neck out a bit. And then pretty soon, that's very acceptable.

One could go on for ever as to whether the paint should be thick or thin, whether to paint the woman or the square, hard-edge or soft, but after a while such questions become a bore. They are merely problems in aesthetics, having only to do with the outer man.

Painting ... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.

You were told how much space so it was a matter of whether you could send in two paintings or three paintings, you know, pending where the show was being held. You did submit work to be accepted. Once you were accepted that was it. You did your own selection of what went in.