Woman's Art Inc.

Negotiating Abstraction: Lee Krasner, Mercedes Carles Matter and the Hofmann Years
Author(s): Joan Marter
Source: Woman's Art Journal, Vol. 28, No. 2 (Fall - Winter, 2007), pp. 35-39
Published by: Old City Publishing, Inc.
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 Negotiating Abstraction
Lee Krasner, Mercedes Carles Matter, and the Hofmann Years

By Joan Marter

Lee Krasner began her serious involvement with

abstraction at New York's Hofmann School of Fine Arts
in 1937. There she developed a formal vocabulary that
she sustained for much of her career. Hans Hofmann's impact
can be measured in Krasner's charcoal of the
angular drawings
nude that she produced in his class (Fig. 1), and in her vivid
still-lifecompositions from thatperiod.
Another student at the Hofmann School was Mercedes
Carles (laterMatter; 1913-2001). While Krasner explored the
dynamism of bodies thrusting in space, Carles had a bold but
more static to the male and female nudes
response they
sketched inHofmann's class. Both young women shared a
passionate interest in the burgeoning involvement with
abstraction among New York artists in the 1930s.
Krasner and Carles had firstcrossed paths on December 2,
most circumstances: met in
1936, under unusual they jail. For
these two young women artists from completely dissimilar
backgrounds?two differentworlds?an unlikely friendship
followed.1

An American-born child of a Russian immigrant family,

Krasner was a product of the Brooklyn public school system
and the tuition-freeWoman's Art School of The Cooper Union
(1926-28) before studying at theArts Students League (1928),
and the National Academy of Design (1928-1932). Her
determination is evident in two early self portraits, one painted
in the basement of her parent's house in Brooklyn (1929; Fig 2),
and the one made to fulfilla requirement forher promotion to
theAcademy's "Life Drawing" class (see p. 30, Fig. 2).2Krasner on paper,
Fig. 1. Lee Krasner, Nude Study from Life (1938), charcoal
was active in theArtists Union and a frequent participant in 25" x 20". Private collection.
artists' protests. She believed, like Trotsky, that artists could
create abstract work and that art radicals should be more

concerned with a better world thanwith making propaganda. spent the rest of the year inNew York City and abroad.4 In the
After working for the Public Works of Art Project (PWAP) for summer of 1932 Mercedes Carles studied with Alexander
several months in 1934, the following year Krasner became an Archipenko inWoodstock, New York,5 and then began taking
assistant in theMural Division of the Federal Art Project (FAP), classes at theArt Students League, where she first encountered
which was part of theWorks Progress Administration (WPA). Hans Hofmann, a German artistwho had just emigrated to the
Mercedes Carles was a privileged child of the Philadelphia United States. By 1933 she was enrolled inhis evening painting
artist Arthur B. Carles and Mercedes de Cordoba, a musician, course, and soon after began an affair with Hofmann, who was

actress, and sometime model for Edward Steichen and other living inAmerica without his wife. He became Carles's mentor
members of the Photo Secession group. (In 1921 the family and father figure as well as her lover.The following year, Carles
lived for a year in Steichen's home in the village of Voulangis, joined Hofmann and her father inGloucester, Massachusetts,
outside Paris.3) The beautiful, dark-haired "Mercy" lived where the two men were
teaching
a summer course.6 Carles

mostly with her mother and was educated in private schools in had not seen her father for several years, and the sojourn was
theUnited States and Europe. She began painting at an early an occasion to present herself to him as a
young
woman and

age, and after 1926 she visited her father in Philadelphia, and aspiring modernist painter (Fig. 3).

FALL /WINTER 2007 A

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 artists of the Hofmann School and the American Abstract
Artists, and their art of the 1930s and early 1940s are
illuminated by unpublished letters fromKrasner toCarles and
by the latter's unpublished autobiographical essay, written in
the seventies. These documents provide insights not only to
in Krasner's to abstraction but to
changes approach
connections between her personal lifeand her artistic trajectory.
Mercedes Carles considered Lee Krasner among her closest
friends in the 1930s and into the 1940s. Their association
probably led toKrasner's enrollment at Hofmann's school in
1937. "I couldn't afford my own model and the school was
right there, a block away fromwhere I lived," she said later.9In
Hofmann's studio, Krasner had an introduction to the

European and learned about advanced

avant-garde
modernism. Hofmann had known Henri Matisse and Picasso
in Paris, and had taught inMunich before coming to the
United States. His often was and even
teaching gender-biased,
his personal letters toMercedes, his erstwhile lover, were
patronizing, as he remarked about his interest in "the
reputation of his girl students."10

Krasner Hofmann and considered his instruction

respected
essential to her as an artist, but she resented his
development
of drawing corrections on his students' work,
practice directly
The Metropolitan Museum of Art, New York.
Gift of Eda Mirsky Mann, 1988. ripping theirdrawings into pieces, and other manifestations of
his rigid and aggressive teaching methods. His emphasis on
and and on circular and
negative positive space rectangular
By 1936 she was working on theWPA/FAP mural project, motion is evident in her drawings of the time, such as theNude
and she was present on December 2 of thatyear when a protest Studyfrom Life (Fig. 1). Krasner's untitled still life (1938; PI. 10),
took place?one of themany during that period?over the in the collection of theWhitney Museum of American Art,
sudden discharge of fivehundred WPA artists and models who shows the interaction of color and form that resulted fromher
were supposed to have been employed thatweek. Among the study with Hofmann. In it,Krasner eliminated the outline and
crowd outside theWPA Arts Building at 6 East 39 Street were constructed the composition of vivid hues that form shapes
hundreds of screaming artists and models. Police battled with loosely related to one another. She retained a
suggestion of a
the rioters, resulting in injuries to fiftypeople and the arrest of receding table top, and realized Hofmann's "push-pull" dictum
more than two hundred fordisorderly conduct. Decades later, with color.Hofmann taught his students that colors interact in a
Mercedes Carles Matter recalled theday: way that could be understood abstractly, and these mosaic-like

Imet Lee Krasner in jail. Iwas on theWPA, and Iwas

seeing a lot of [Arshile] Gorky at the time and he wanted
to educate me because Iwas fromfinishing schools, and
knew nothing about politics. So he brought me a whole
library of communist literature.Then Iwas on theWPA
and hired a model and she said she couldn't pose forme
because she was going
to a at the Artists' Union.
meeting
So I decided to go to see what itwas like. They were all
fired up.... were to have a sit-down strike, so
They going

they all rushed from theArtists' Union up to the [WPA]

headquarters. I rushed over to Gorky's studio and told
him to come. He stayed home and I ended up in jail. I
was just an observer. I landed in jail and Lee Krasner was
there and that's how we first met.7

Itwas not Krasner's first such She later recalled:

experience.
"I was practically in every jail inNew York City. Each timewe
were fired, or threatened with being fired,we'd go out and
picket. On many occasions we'd be taken off in a Black Maria
and locked in a cell."8 Fig. 3. Mercedes Matter, Untitled (1934-35), oil on canvas, 12" x 16".

Krasner's Private collection. Photo courtesy Mark Borghi Gallery.

friendship with Mercedes Carles, their links to

? WOMAN'S ART JOURNAL

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dabs and forecast Krasner's later creation of mosaic
patches
tables and her continuing interest in fauvist color on a
passages
white ground. A comparison with Carles's Tabletop Still Life no. 5
of the same year (1938; PL 11) demonstrates how Krasner had
boldly abandoned discrete outlines of specific objects for
sweeping curves and broadly-brushed passages of vivid colors,
while Carles had moved from small, tight, heavily worked
sections to more areas.
freely brushed
Hofmann taught the importance of gesture and the dynamic
movement of form, and his best students moved beyond
cubism to unified compositions that provoke multiple
Some of Hofmann's students
readings. actually produced
works more advanced than their instructor's by the end of the
1930s. Krasner and Carles also promoted his success by
arranging exhibitions and sales of his paintings in the 1940s.
Many factors led to Krasner's individualized approach to
abstraction. Among thesewere her friendshipswith Willem de
Kooning and Arshile Gorky, her conversations about artwith
Harold Rosenberg, and her relationship with the artist Igor
Pantuhoff, who worked in a conservative but gave Krasner
style
books on Matisse, Picasso, and Raoul Dufy. In addition, 1936 and
1937 were eventful years in New York, with two major
exhibitions organized by theMuseum ofModern Art: "Cubism
and Abstract Art," followed by "Fantastic Art, Dada and
Surrealism." Both featured primarily European modernists, with
a fewAmericans such as Alexander Calder. These exhibitions had
a profound effecton young American artists seeking towork in
an abstract mode, whether or
geometric biomorphic. Fig 4. Lee Krasner, Abstract Human Figure (1938), collage and oil on
Itwas
probably through Carles that Krasner became paper, 25 3/4" x 20". Private collection.
involved with theAmerican Abstract Artists (AAA) group. In
1936 Mercedes Jeanne Carles (as she was called at the time)
became a founding member of theAAA, exhibiting with the principles of Neo-Plasticism certainly had an effect on her
group until 1942. She later noted, "As inmy case, themajority work. She even danced with the artist at the Caf? Society
of itsmembers had been students of Hofmann."11 Other women
Uptown, later recalling, "I loved jazz and he loved jazz, so I
artistsworking in progressive styleswho joined theAAA in the saw him several times and we went
dancing
like crazy."15 She

1930s included Gertrude Greene (1904-56), Alice Trumbull also escorted Mondrian through an AAA Annual exhibition at
Mason (1904-71), Esphyr Slobodkina (1908-2002),12 and theRiverside Museum,16 where, upon seeing her painting in the
Rosalind Bengelsdorf (1916-79). Although Carles exhibited show, he apparently complimented her "strong inner
with the group, her paintings (for example PL 12), do not rhythm."17 Hofmann, who praised Mondrian, calling him "the
indicate a similar acceptance of abstraction. One of her untitled architect ofmodern painting," demonstrated inhis classes how
still lifepaintings was reproduced in the 1938 AAA yearbook, he condensed and abstracted nature.

and the following year "Jeanne Carles" was listed as a member Krasner made compositions in the early 1940s that
of the group but did not have an image reproduced in the demonstrate her admiration forMondrian in their use of
She seems to have lost interest in the group as her elements. The AAA considered "abstraction" to
yearbook.13 geometric

relationship with Herbert Matter, the Swiss-born designer and apply to all works by artistswho recognized that color, form,
photographer, deepened. They were married in 1941. and composition have qualities in and of themselves. As a
Krasner's energetic paintings of the period featured a result, hard-edge geometric works hung alongside biomorphic
geometric clarity, vivid palette, and elegant line that was paintings. Krasner's abstractions typically were derived from
indebted to such European modernists as Matisse and Piet the traditional still-lifeset up, as found at theHofmann School.
Mondrian. While accepting the official AAA aesthetic Works such as her Abstract Human Figure (1938; Fig. 4) and an
philosophy, emphasizing abstraction,14 Krasner nevertheless untitled still life (1942; Fig. 5) feature brilliant hues, varieties of
followed her own creative trajectory that led in the late 1930s to textures, thick lines, and no overlapping of forms as part of her
sophisticated renditions of synthetic cubism. Krasner exhibited sustained involvement with abstraction. Whether or not they
with theAAA from 1939 through 1943, showing exuberant are hybrids of still lifeand human figure, as Robert Hobbs has
abstract compositions that often surpassed those of the other suggested,18her emphasis is on the independence of color and
accomplished femalemembers of thatgroup. form as separate from description.

While active with theAAA, Krasner met Mondrian, whose By 1939 Krasner was appointed to the Executive Board of

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ff%

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 we miss and Herbert as much as you
you
miss us. It's hard forme to realize thatyou
are 3000 miles away. I keep thinking that
on some vacation and
you're prolonged
\ Herbert is just too busy to see anyone. Your
shack sounds wonderful and I reallywish I
was there?however don't start
getting
ideas?I just don't like the sound of
California?but the waves and the

aloneness that kind of aloneness, seems

wonderful?the fact that you can think

about painting again and be away from the
)
hysteria of the city?all that I envy.21
In the same letter,she describes how she and
'ollock helped to arrange a show forHans
iofmann at Peggy Guggenheim's Art of This
lenturyGallery.
was pretty busy arranging a little dinner
The dinner was a
party.... complete
success....Yes, I'm these
cooking days?
As I was after a most
" seriously. saying
Fig. 5 Lee Krasner, untit?ed (Still Life) (c. 1942) oil on linen, 21 x 27". Collection of Gordon F
dinner we all went to Hans's
charming
Hampton. Photo courtesy Robert Miller
place to show Peggy his work?now mind
Gallery.

this business of casually walking down

theArtists Union. As she later explained, "My experience with four flightsat 46 East 8thand walking up threeflights at 44
leftistmovements in the late 1930s made me move as far away East 8th.Took all winter to must
plot?nothing go wrong....
as in an
from them
possible....They
weren't interested However the gods had destined a successful evening and
independent and experimental art, but rather linked it to their Peggy was terriblyexcited about thework and asked ifshe
economic and couldn't come and see them quietly, and to sum up she's
political program."19 up
When in January 1942, Krasner exhibited an abstract
giving Hans a show thisMarch.22
composition in "French and American Painting" at the
McMillen Gallery on East 56 Street, organized by John Sidney Janis illustrated Krasner's Composition (c. 1939; PL
Graham, she considered this a pivotal moment in her career. 13)(now at the Smithsonian American Art Museum) in the cata
Her work appeared with such European masters as Matisse logue forhis pioneering exhibition in 1943,Abstract and Surrealist
and Picasso, but also with de Kooning, Stuart Davis, and Art inAmerica.23 Her inclusion inboth JohnGraham's 1942 group
Jackson Pollock. This was her firstmeeting with Pollock, and exhibition and a catalogue of themost advanced art in theUnited
later that year, they began living together. Now a successful States signaled her growing recognition in the artworld.
abstract artist, she transferred her efforts from theWPA/FAP Pollock's firstsolo exhibition was held November 9-27,1943,
to theWar Services Office, where she managed to employ at Art of This Century Gallery. Howard Putzel, Peggy
Pollock on the display she was supervising. Guggenheim's assistant, was instrumental in
bringing
notice to

Krasner was determined to secure art world connections for Pollock's work and was attentive to both Krasner and Pollock.
Pollock, later telling an interviewer: However, Krasner soon was
struggling with her own work?

When Imet Pollock and responded to his work theway I trying to "lose Cubism" and "absorb Pollock."24 After the vivid
and forceful abstractions that she had created, her painting
did, which was . . . I
very enthusiastic, certainly brought faltered as she devoted more attention to advancing Pollock's
people in that I knew to see his work. Through Herbert career. She wrote toMercedes in 1944, "I'm painting and
and Mercedes Matter, who were close friends ofmine at
the time,we got Sandy [Alexander] Calder in to see his nothing happens. It'smaddening. I showed [Sidney] Janismy
last three paintings. He said theywere toomuch Pollock?it's
work, we James Johnson in to see his work.20
got Sweeney
completely idiotic, but I have a feeling from now on that's
Unlike Eva Hesse and many other twentieth-century going tobe the story.As I said, I envied you your aloneness and
women artists, Lee Krasner left fewwritings; however, letters thewaves. Good night and my love toHerbert."25
she exchanged with Mercedes Carles Matter reveal her state of Krasner and Pollock had decided to leaveManhattan, and in
mind in the 1940s. From her home at 46 East 8 Street, probably 1944 they spent several months at the Springs, a small fishing
in 1944, Krasner wrote to her friend,who had moved to Santa village in the town of East Hampton, Long Island, on the
Monica, California, with her husband theprevious year: Atlantic Ocean. There she experienced for herself "the waves"
and the proximity to nature that she envied as an from
escape
Dear Carles. If it's any consolation, to you,

WOMAN'S ART JOURNAL

0

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 5.
city life.Depressed after her father died inNovember 1944,
"Mercedes Matter Autobiography," Mercedes Matter Drawings (New
York: New York Studio School, 1996), n. p.
Krasner wrote toher friend the followingmonth that she felt:
6. Arthur Carles and Hofmann, who had firstmet years earlier in Paris,
a certain uninterest or rather a desire to be
strong deepened their friendship that summer. See Barbara Wolanin,
alone?It's all tied up with the death ofmy father. It "Prelude to Provincetown: Hofmann, Matter, Carles, and the Legacy of
a month ago after a two year illness. In spite of their 1934 Gloucester Summer," in From Hawthorne to Hofmann,
happened
Provincetown 1899-1945 (New York: Hollis Taggart
the fact that I knew itwas coming and in spite ofhis age, he Vignettes,
Galleries), 40-57. Also see The Provocative Years 1935-1945, The Hans
was 81, itprettywell tears you to pieces and is like some
Hofmann School and itsStudents in Provincetown (Provincetown, MA:
terrificeruption with everything being tornup.... Imust Provincetown Art Association and Museum, 1990).
wait until spaces are closed and time changes feeling.26
7. Taped interview of Jeffrey Potter with Mercedes and Herbert Matter,

Krasner went on towrite thatPollock's work would be shown July 6, 1982, on deposit at the Pollock-Krasner House and Study
Center, East Hampton, New York.
at the San Francisco Museum "in a month or so."
8. Quoted by David Bourdon, "Lee Krasner: I'm Embracing the Past/'
Many authors have noted exposure to
that Krasner's
Voice (March 7, 1977), 57. Also see Ellen G. Landau, "Lee
Village
Pollock's dynamic painting caused her to falter in her own Krasner's Early Career, Part One," Arts Magazine (October 1981): 110-22.
artistic development.27 But the death of her father and its
9. David Bourdon, "Lee Krasner," 57.
devastating impact on her psyche has been insufficiently 10. Letter from Hans Hofmann to Mercedes Carles, ca. 1936, Estate of
acknowledged as another source of her inability to complete a Mercedes Matter.
work at that time.After her father's death, Krasner changed her
11. Mercedes Matter, autobiography.
mind about not needing to be married to Pollock, and they
12. For more on Alice Trumbull Mason, see Marilyn R, Brown, "Three
were married on October 25, 1945. The following spring,
Generations of Artists," WAJ 4 (Spring 1983): 1-8; and Virginia Pitts
Krasner set up her easel in the back bedroom of theirhouse on Rembert's review of Gail Stavitsky and Elizabeth Wylie, The Life and

Fireplace Road in the Springs and began her Little Image Artof EsphyrSlobodkina,WAJ 15 (Fall94/Winter
95): 52-53.
paintings. She initiated a new chapter in her quest for a 13. American Abstract Artists, Yearbooks for 1938,1939,1946 (New York:
Arno Press,
personal style. 1969).
Krasner met Jackson Pollock at a time when she was 14. The General Prospectus of the American Abstract Artists of 1936
considered a formidable,well-connected young modernist. Her includes a statement on the Character of the Group: "We believe that a

in the 1930s and early 1940s new art form has been established which isdefinite enough incharacter
negotiation with abstraction
to demand this unified effort. We recognize, however, the need for
situates her among the avant-garde American artists of that
individuals to experiment and deviate at times from what may seem
period. Her trajectory, which had soared before Pollock, established directions. For this reason we place a liberal interpretation
resumed in the 1950s. upon the word 'abstract', a word which we moreover recognize as
Mercedes Matter warrants more attention. Often neither adequate nor accurate." (Quoted inAbstraction across

overshadowed by artists she energetically championed during America, 1934-1946 (NewYork: Michael Rosenfeld Gallery, 1996).

her lifetime, she is among a group ofwomen artists identified 15. Bourdon, "Lee Krasner," 57.

with theNew York School who have yet to be fully recognized 16. Ibid.
for their achievements. 17. Jeffrey Grove, "Chronology: Lee Krasner, 1908-1984" in Landau, Lee
Krasner, A Catalogue Raisonn?, 305.

Joan Marter Professor of Art History at

is Distinguished 18. Robert Hobbs, Lee Krasner (New York: Abbeville, 1993), 26.

Rutgers University. She has written several books on twentieth 19. Jeffrey Grove, in Landau, Lee Krasner, A Catalogue
"Chronology,"
century American artists, and most is the editor of Raisonn?, 304-05.
recently
Abstract Expressionism,The InternationalContext (2007). 20. Interview with Lee Krasner by Doris Holmes, 1972, transcript, Archives
of American Art, Smithsonian Institution.
Notes
21. Letter from Lee Krasner to Mercedes Matter, c. 1944, Estate of
1. My thanks to the estate of Mercedes Carles Matter and the Mark Mercedes Matter.

Borghi Gallery for making available to me unpublished archival 22. Ibid.

materials on Matter, Lee Krasner, and Hans Hofmann.
23. Sidney Janis, Abstract and Surrealist Art inAmerica (New York: Arno
2. John Russell, "Art: Self-Portraits at Long Island's Heckscher," New York
Press, 1943), 55, fig. 31. The exhibition was held in New York at the
Times was reprimanded by the Life Class
(July 13,1979). Although she Mortimer Brandt Gallery inJanuary, 1944, and was also shown in
Committee, which did not believe that her self-image was painted Santa and San Francisco.
Cincinnati, Denver, Seattle, Barbara,
outdoors, critics have noted the honesty and tenacity of this painting.
24. JeffreyGrove, "Chronology," inLee Krasner, A Catalogue Raisonn?, 307.
Ellen Landau writes of the self portrait holding a flower, that it "is
closest to the style of her National Academy of Design teachers Leon 25. Letter from Lee Krasner to Mercedes Matter, c. 1944. Estate of
Kroll and Charles Courtney Curran"; Ellen G. Landau, Lee Krasner, A Mercedes Matter.

Catalogu? Raisonne (New York, Harry Abrams, 1995), 25. 26. Letter from Lee Krasner to Mercedes December 1944.
Matter, 21,
3. Information from an unpublished autobiographical sketch, written by Estate of Mercedes Matter.
Mercedes Carles Matter c. 1977 in the collection of the estate of
27. Ellen G. Landau, Lee Krasner, A Catalogue Raisonn?, 97. Anne
Mercedes Matter. (Hereafter, Mercedes Matter, autobiography)
Wagner, "Lee Krasner as L.K.," Representations (Winter 1989): 42-56.

4. Mercedes Matter's parents married in 1909 and divorced in 1926.

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PI. 10. Lee Krasner, Untitled (Still Life) (1938) oil on paper, 19" x 24 3/4".The Whitney Museum of American Art.

Pl. 11. Mercedes Matter, Tabletop Still Life no. 5 (1937-38), oil on canvas, 30" x 36". Private collection.
Photo courtesy Mark Borghi Gallery.

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V ~ PI. 12.Mercedes
j^ ^^^V ^^^B~JPB IJL^ ^^^^__a. Carles(Matter)

HByB^^^Ki^^M^I^^^^^Br .^K^^^E" ^^^^^^^^^. sir oncanvas x

V^^^^^^^^ ^5!m^^^. ^^^^^^^^BBP^^^^^*^ .^fc I Ph?tocourtesy

MarkBorghi
Gallery.

PI. 13. Lee Krasner,

Composition (c. 1939)

oil on linen, 30" x 24".
Smithsonian Museum of
American Art, Washington, D. C.
Photo courtesy Robert Miller Gallery.

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