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From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952

Sep. 12, 2014 – Feb. 1, 2015

Through select paintings by both artists, this exhibition offers a revealing parallel view of two key Abstract Expressionists. Lee Krasner and Norman Lewis, a woman and an African American, each experimented with approaches that joined abstraction and cultural specificity. Their work similarly brims with gesture, image, and incident, yet was often overlooked by critics in their time.

This exhibition brings together two New York painters whose works offer unique and compelling approaches to abstraction. Born one year apart, Lee Krasner (1908 – 84) and Norman Lewis (1909 – 79) shared similar family situations and came of age in the economic, social, and historic complexities of the 1930s. They formed their creative identities in the artistic and cultural ferment of New York City that was to catapult it to the center of the art world after World War II.

Lee Krasner was born in Brooklyn to a Russian Jewish immigrant family. She studied at the Cooper Union and the National Academy of Design. From 1934 through 1943 she supervised a section of the mural division of the Federal Art Project of the Works Progress Administration. Krasner married the painter Jackson Pollock in 1945.

Norman Lewis’ parents were immigrants from Bermuda. His family lived on Lenox Avenue in Harlem. He studied drawing and commercial design in high school before joining the merchant marine and sailing throughout the Caribbean and South America. In the early 1930s Lewis worked with Augusta Savage, the founder and director of the Savage Studio of Arts and Crafts in Harlem. Like Krasner, he was a beneficiary of the public-works programs of the Depression years, teaching art under the auspices of the Federal Art Project.

Krasner and Lewis reached their mature styles during the 1940s and 1950s. Their works of these years suggest intriguing parallels. Both painters developed many of the signature elements of Abstract Expressionism – a rejection of realist representation; a decentered, all-over approach to the picture plane; spontaneous, gestural brushwork; and a free use of non-naturalistic color. Both reveled in the sensual pleasures of design. A key aspect of their experimental method was the use of line – loose and organic or formal and gridlike. Both artists also drew upon sources with personal meanings: ancient and nonwestern art, contemporary music, forms of writing, references to urban life. The parallel viewing of two innovative mid-century painters offers insights into both their artistic achievements and this transformative era in America.

Norman L. Kleeblatt
Susan and Elihu Rose Chief Curator

Stephen Brown
Assistant Curator

#FromtheMargins

 

In the Press
“…a nuanced, sensitive and profound exhibition”

“…elegantly conceived and beautifully installed…”

From the Margins: Lee Krasner l Norman Lewis, 1945-1952 is made possible by The Peter Jay Sharp Exhibition Fund, the Boris Lurie Art Foundation, The Rosenblatt Charitable Trust, Roy Zuckerberg, and The Pollock-Krasner Foundation. Endowment support is provided by The Skirball Fund for American Jewish Life Exhibitions.

Norman Lewis, n. d. Photographer unknown, 7 ⅜ × 8 ¼ in in (18.7 × 21 cm). From the Willard Gallery Archives. Collection of Kenkeleba House. Art © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

Exhibition highlights

  • Lee Krasner with Stop and Go, c. 1949. Photographer unknown. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

    Lee Krasner with Stop and Go, c. 1949. Photographer unknown. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

  • Lee Krasner, Untitled, 1949, oil on canvas, 24 × 48 in. (61 × 121.9 cm). Nancy Margolis King Collection. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

    Lee Krasner, Untitled, 1949, oil on canvas, 24 × 48 in. (61 × 121.9 cm). Nancy Margolis King Collection. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

  • Norman Lewis, Crossing, 1948, oil on canvas, 25 × 54 in. Michael Rosenfeld Gallery. © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

    Norman Lewis, Crossing, 1948, oil on canvas, 25 × 54 in. Michael Rosenfeld Gallery. © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

  • Lee Krasner, Stop and Go (formerly Yes and No), 1949. Oil and enamel on panel, 45 ¾ in. (116.2 cm) dia. Private Collection, courtesy of Michael Rosenfeld Gallery New York, NY. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

    Lee Krasner, Stop and Go (formerly Yes and No), 1949. Oil and enamel on panel, 45 ¾ in. (116.2 cm) dia. Private Collection, courtesy of Michael Rosenfeld Gallery New York, NY. © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

  • Norman Lewis, Untitled, 1949. Oil on canvas, 20 × 30 in. (50.8 × 76.2 cm). The Pamela Joyner and Alfred Giuffrida Collection. Art © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

    Norman Lewis, Untitled, 1949. Oil on canvas, 20 × 30 in. (50.8 × 76.2 cm). The Pamela Joyner and Alfred Giuffrida Collection. Art © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

  • Lee Krasner, Kufic, 1965.Oil on canvas, 81 x 128 in. (205.7 x 325.1 cm) Courtesy The Pollock-Krasner Foundation and Robert Miller Gallery, New York © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

    Lee Krasner, Kufic, 1965.Oil on canvas, 81 x 128 in. (205.7 x 325.1 cm) Courtesy The Pollock-Krasner Foundation and Robert Miller Gallery, New York © 2014 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

  • Norman Lewis, Alabama II, 1969. Oil on canvas, 48 x 71 ½ in. (121.9 x 181.6 cm). Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Billy E. Hodges. Art © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

    Norman Lewis, Alabama II, 1969. Oil on canvas, 48 x 71 ½ in. (121.9 x 181.6 cm). Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Billy E. Hodges. Art © The Estate of Norman W. Lewis, Courtesy of Iandor Fine Arts, New Jersey

  • Installation view of the exhibition From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952, September 12, 2014 – February 1, 2015. © The Jewish Museum, NY. Photo by: David Heald.

    Installation view of the exhibition From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952, September 12, 2014 – February 1, 2015. © The Jewish Museum, NY. Photo by: David Heald.

  • Installation view of the exhibition From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952, September 12, 2014 – February 1, 2015. © The Jewish Museum, NY. Photo by: David Heald.

    Installation view of the exhibition From the Margins: Lee Krasner and Norman Lewis, 1945 – 1952, September 12, 2014 – February 1, 2015. © The Jewish Museum, NY. Photo by: David Heald.

Explore the stories behind these snapshots of artists Lee Krasner and Norman Lewis, taken in New York City in the 1940s and 1950s.

  • Norman Lewis, New York City, probably Harlem. Willard Gallery Archives, courtesy of Miani Johnson Norman Lewis was born and spent much of his life in Harlem. His studio was on 125th Street, a major thoroughfare of Harlem life and culture. From his studio window, the painter observed the movement in the streets and markets below. Lewis was noted for his careful attention to dress and appearance. He had been a tailor and had learned how to sew, one of the many skills he developed in order to make a living while painting.

    Norman Lewis, New York City, probably Harlem. Willard Gallery Archives, courtesy of Miani Johnson Norman Lewis was born and spent much of his life in Harlem. His studio was on 125th Street, a major thoroughfare of Harlem life and culture. From his studio window, the painter observed the movement in the streets and markets below. Lewis was noted for his careful attention to dress and appearance. He had been a tailor and had learned how to sew, one of the many skills he developed in order to make a living while painting.

  • Norman Lewis painting (Composition I, 1945, Indianapolis Museum of Art), c. 1945, Willard Gallery Archives, courtesy of Miani Johnson. In this image, Lewis is seen painting Composition I, currently in the collection of the Indianapolis Museum of Art. At the back right rests a sculpted head by William Artis—a student of Augusta Savage in whose studio Lewis also worked. By 1946, Lewis was immersed in abstract painting. Paintings like Composition I (1945), Phantasy II (1946) and Untitled (1949) are early examples of his work in abstraction, a style of painting that was uncharacteristic for an African-American artist at the time.

    Norman Lewis painting (Composition I, 1945, Indianapolis Museum of Art), c. 1945, Willard Gallery Archives, courtesy of Miani Johnson. In this image, Lewis is seen painting Composition I, currently in the collection of the Indianapolis Museum of Art. At the back right rests a sculpted head by William Artis—a student of Augusta Savage in whose studio Lewis also worked. By 1946, Lewis was immersed in abstract painting. Paintings like Composition I (1945), Phantasy II (1946) and Untitled (1949) are early examples of his work in abstraction, a style of painting that was uncharacteristic for an African-American artist at the time.

  • Norman Lewis reading, c. 1945, Willard Gallery Archives, courtesy of Miani Johnson. Lewis was a largely self-taught artist. Though he briefly studied with Raphael Soyer, he rejected formal study. Lewis built up a library of art books, educating himself on everything from Persian prints to the art of El Greco through Cezanne, Modigliani, and Picasso. Self-study, though a slow and challenging process, secured him a degree of independence. Here, Lewis is seen in his studio likely reading a volume of Documents of Modern Art, a series edited by artist Robert Motherwell and published by George Wittenborn from 1944 – 1972.

    Norman Lewis reading, c. 1945, Willard Gallery Archives, courtesy of Miani Johnson. Lewis was a largely self-taught artist. Though he briefly studied with Raphael Soyer, he rejected formal study. Lewis built up a library of art books, educating himself on everything from Persian prints to the art of El Greco through Cezanne, Modigliani, and Picasso. Self-study, though a slow and challenging process, secured him a degree of independence. Here, Lewis is seen in his studio likely reading a volume of Documents of Modern Art, a series edited by artist Robert Motherwell and published by George Wittenborn from 1944 – 1972.

  • Norman Lewis at LaGuardia Airport, New York, c. 1951, Willard Gallery Archives, courtesy of Miani Johnson. Lewis smiles for the camera at LaGuardia airport in this picture. It was likely taken by Dan Johnson, husband of Marianne Willard, who owned the Willard Gallery. Lewis was among the other Gallery artists, including Lyonel Feininger, Morris Graves, Mark Tobey, and David Smith, from 1946 until he left the gallery in the early 1960s. Lewis had seven shows at the Willard Gallery between 1949 and 1961. During this period, Lewis spent time with the Willard-Johnsons, often at their home in Locust Valley, New York.

    Norman Lewis at LaGuardia Airport, New York, c. 1951, Willard Gallery Archives, courtesy of Miani Johnson. Lewis smiles for the camera at LaGuardia airport in this picture. It was likely taken by Dan Johnson, husband of Marianne Willard, who owned the Willard Gallery. Lewis was among the other Gallery artists, including Lyonel Feininger, Morris Graves, Mark Tobey, and David Smith, from 1946 until he left the gallery in the early 1960s. Lewis had seven shows at the Willard Gallery between 1949 and 1961. During this period, Lewis spent time with the Willard-Johnsons, often at their home in Locust Valley, New York.

  • Maurice Berezov. Lee Krasner in the studio, Brooklyn, c. 1940, Copyright A.E. Artworks. Krasner was born Lena Krassner shortly after her mother and siblings joined her father in America from Russia. She grew up in an Orthodox Jewish home in Brooklyn. English, Hebrew, Yiddish, and Russian were all spoken. Krasner's art education began at Washington Irving High School in Manhattan and continued at the Women's Art School of The Cooper Union — a traditional setting for a rebellious student. In 1937, when Krasner began to study with the German émigré Hans Hofmann at his school in Greenwich Village, she became immersed in painterly experimentation with Cubist methods.

    Maurice Berezov. Lee Krasner in the studio, Brooklyn, c. 1940, Copyright A.E. Artworks. Krasner was born Lena Krassner shortly after her mother and siblings joined her father in America from Russia. She grew up in an Orthodox Jewish home in Brooklyn. English, Hebrew, Yiddish, and Russian were all spoken. Krasner's art education began at Washington Irving High School in Manhattan and continued at the Women's Art School of The Cooper Union — a traditional setting for a rebellious student. In 1937, when Krasner began to study with the German émigré Hans Hofmann at his school in Greenwich Village, she became immersed in painterly experimentation with Cubist methods.

  • Maurice Berezov. Lee Krasner, New York, c. 1940, Copyright A.E. Artworks. Lee believed in art the way other people believe in God, according to her nephew Ronald Stein. Krasner was determined to make a living as an artist. She worked in various positions as an employee of the Fine Arts Project of the Works Progress Administration from 1935 through 1943, when the program was phased out. In the late thirties, she protested with the Artists Union to defend artist jobs under the WPA. In 1939, Krasner also joined the American Abstract Artists group and was included in AAA annuals from 1940 to 1943.

    Maurice Berezov. Lee Krasner, New York, c. 1940, Copyright A.E. Artworks. Lee believed in art the way other people believe in God, according to her nephew Ronald Stein. Krasner was determined to make a living as an artist. She worked in various positions as an employee of the Fine Arts Project of the Works Progress Administration from 1935 through 1943, when the program was phased out. In the late thirties, she protested with the Artists Union to defend artist jobs under the WPA. In 1939, Krasner also joined the American Abstract Artists group and was included in AAA annuals from 1940 to 1943.

  • Maurice Berezov. Lee Krasner, New York, c. 1940, Copyright A.E. Artworks. While studying at the prestigious National Academy of Design, Krasner met the Russian émigré, Igor O. Pantuhoff (1911 – 1972). They lived together for a few years, to the extent that Krasner's parents thought they were married. Pantuhoff later became known for charming doe-eyed portraits of young women. In the early thirties, Krasner worked at Sam Johnson', a nightclub haven for artists and intellectuals in Greenwich Village and later earned money as a model. Confident and calm, reclining in her Brooklyn studio, Krasner presents herself here as a stylish young woman, an elegant bohemian.

    Maurice Berezov. Lee Krasner, New York, c. 1940, Copyright A.E. Artworks. While studying at the prestigious National Academy of Design, Krasner met the Russian émigré, Igor O. Pantuhoff (1911 – 1972). They lived together for a few years, to the extent that Krasner's parents thought they were married. Pantuhoff later became known for charming doe-eyed portraits of young women. In the early thirties, Krasner worked at Sam Johnson', a nightclub haven for artists and intellectuals in Greenwich Village and later earned money as a model. Confident and calm, reclining in her Brooklyn studio, Krasner presents herself here as a stylish young woman, an elegant bohemian.

  • Hans Namuth. Lee Krasner in her studio, East Hampton, c. 1950, Copyright Hans Namuth Ltd., Courtesy Pollock-Krasner House and Study Center, East Hampton, New York. Shortly after getting married in 1945, Krasner and Pollock bought a house in Springs. At first, Krasner used the small living room as her studio, where in 1946 she began painting her

    Hans Namuth. Lee Krasner in her studio, East Hampton, c. 1950, Copyright Hans Namuth Ltd., Courtesy Pollock-Krasner House and Study Center, East Hampton, New York. Shortly after getting married in 1945, Krasner and Pollock bought a house in Springs. At first, Krasner used the small living room as her studio, where in 1946 she began painting her "Little Images." She moved away from her Little Images by 1950. Works of this period include her "personage" paintings, which she painted over or destroyed. They are known largely through photographs. One major example is included in the current exhibition: Promenade (1950, private collection).

Audio

Oral history interviews with Lee Krasner and Norman Lewis

The Jewish Museum · From the Margins: Lee Krasner | Norman Lewis