Lee Krasner’s huge contribution to abstract expressionism was overshadowed for years by the work of her husband, Jackson Pollock. On the eve of a major London show, we trace her story.
In the autumn of 1945, two artists – not young, but not quite middle-aged, either – moved from New York to a village called Springs, near East Hampton on Long Island. These newlyweds had no money. It would be a while before they could make the small clapboard farmhouse that was to be their new home any less freezing in winter, let alone install an indoor bathroom. But this isolated spot, with its ramshackle outbuildings and its view of the Accabonac Creek, was for them a bit of heaven – in the beginning, at least. Together, they cooked and gardened. Together, they went digging for clams, travelling to the beach on their bicycles (they did not own a car). Above all, they worked: he in their barn, she in an upstairs bedroom. Life was, for them both, mostly about painting. Their allegiance to it was fierce: as intense as their loyalty to each other, from which it could never fully be separated.