How, then, do we reconcile such varied interpretations of Lee Krasner and her work? By considering Krasner’s collages within the context of the pastoral, a new interpretation of her work is achieved.
Bryan Robertson, however, has written that Krasner’s work “has always seemed… pastoral and bucolic but with highly personal inflections.” While Robertson employed the word “pastoral” to refer to Krasner’s “preoccupation with nature,” his review indicates a far different assessment of Krasner’s oeuvre than Landau. Noting the expressivity of these compositions, Landau has associated the contingency of collage with Krasner’s struggle to overcome personal pain and professional failure. Ellen Landau has interpreted these collages as an attempt to “possess” Pollock, Krasner’s symbolic means of connecting with her husband while validating herself as an artist. In 1953, Lee Krasner began making collages by tearing up and rearranging works executed by her and her husband, Jackson Pollock.
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