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לי קרסנר (1908-1984)

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<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div> <div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>
מים מס' 5 1969 12 1/4 x 9 1/4 אינץ' (31.12 x 23.5 ס"מ) גואש על נייר האוול
מקור ומקור
גלריית מרלבורו
אוסף פרטי, נרכש מהאמור לעיל, ג. 1970
אוסף פרטי
ספרות
Landau, Ellen G., Lee Krasner: A Catalogue Raisonné, New York: Abrams, 1995, p. 254, אשליה. 511
 מחיר 250,000
"מים מס' 5" של לי קרסנר מתעל את האנרגיה הנוזלת של המים, המשתנה ללא הרף, להפשטה זוהרת, ומדגים את רגישותה העמוקה לעולם הטבע ומיומנות חסרת תקדים בהפיכתו לאמנות. כחלק מסדרת "מים" שלה, הכוללת כעשרים יצירות, "מס' 5" משקפת את הקסם של קרסנר למקצבי הטבע, בהשראת חייה באיסט אנד של לונג איילנד. כשהיא חיה לאורך קו החוף, היא חוותה את זרימות הגאות והשפל, האור המחזיר את המראה ואת התנועה המתרחבת של המים - אלמנטים שמצאו את דרכם אל משיכות המכחול הנוזלות והשטיפות השכבות של הסדרה הזו.





שקיפות הפטנט בעבודות כמו "מים מס' 5", שקוטלגה כ"גואש על הנייר", מעידה על כך שקרסנר השתמש בטכניקות צבעי מים מסורתיות כדי ליצור את האפקטים הדחוסים והאטומים יותר הקשורים לעתים קרובות לגואש. אמנים יכולים להשיג אטימות כזו בצבעי מים על ידי הגדלת יחס הפיגמנט למים, ריבוי שטיפות שקופות לשכבות לעומק, או שימוש בפיגמנטים המועדים באופן טבעי לגרנולציה ורוויה. הבחירה של קרסנר בנייר האוול, הידוע ב"שן הבינונית עד הגסה" שלו, הגבירה גם את ההשפעות הללו, שכן המרקם שלו מפזר אור כדי להעניק לפיגמנטים מראה מוצק יותר. טכניקות אלו מדגימות את שליטתה של קרסנר בחומרים שלה ואת הגישה האינטואיטיבית והמעשית שלה לניסויים, ומאפשרות לה להרחיב את אפשרויות הביטוי של צבעי מים מבלי להסתמך רק על גואש.





קרסנר לא היה לבד בחיפוש אחר השראה בנוף של לונג איילנד. שכנה, וילם דה קונינג, הגיב באופן דומה לחיוניותו של קו החוף, ותרגם את מקצביו המתגלגלים לעבודותיו משנות ה-60. אולם עבור קרסנר, לסדרת "מים" אין התייחסויות פיגורטיביות, הנשענות אך ורק על יכולתה ללכוד את האנרגיה הטרנספורמטיבית של הטבע באמצעות הפשטה. עם "מים מס' 5", קרסנר השיגה סינתזה עמוקה של טכניקה וחזון, תוך מיזוג הכוח המדיטטיבי של סביבתה עם האנרגיה הדינמית של העשייה האמנותית שלה, והדגיש את מעמדה ככוח חלוצה באמנות אמריקאית לאחר המלחמה.
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