Best 19 quotes of Lee Krasner on MyQuotes

All my work keeps going like a pendulum; it seems to swing back to something I was involved with earlier, or it moves between horizontality and verticality, circularlity, or a composite of them. For me, I suppose, that change is the only constant.

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

I am never free of the past. I have made it crystal clear that I believe the past is part of the present which becomes part of the future.

I have never been able to understand the artist whose image never changes.

I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.

I like a canvas to breathe and be alive. Be alive is the point. And, as the limitations are something called pigment and canvas, let's see if I can do it.

I need to be alone for certain periods of time or I violate my own rhythm.

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.

In the late 30s the name Pollock was totally unknown and unheard of.

I think every once in a while I feel the need to break my medium... if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.

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.

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.

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, for me, when it really 'happens,' is as miraculous as any natural phenomenon - as say, a lettuce leaf. By 'happens,' I mean the painting in which the inner aspect of man and his outer aspects interlock.

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

People were very affected by the war. But it didn't mean you stopped painting unless you were called into the Army; then you just couldn't paint. But otherwise one continued.

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

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.