Editing Jackson Pollock (section)

===Relationship with Lee Krasner===
Pollock and [[Lee Krasner]] met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar yet intrigued with Pollock's work and went to his apartment, unannounced, to meet him following the gallery exhibition.<ref>Hobbs, Robert. Lee Krasner. New York: Abbeville Press, 1993. p.7</ref> In October 1945, Pollock and Krasner were married in a church with two witnesses present for the event.<ref>Rose, Barbara. "Krasner|Pollock: A Working Relationship". New York: Grey Art Gallery and Study Center, 1981. p.4</ref> In November, they moved out of the city to the [[Springs, New York|Springs]] area of [[East Hampton, New York|East Hampton]] on the south shore of [[Long Island]]. With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame house and barn at 830 Springs Fireplace Road. Pollock converted the barn into a studio. In that space, he perfected his "drip" technique of working with paint, with which he would become permanently identified. When the couple found themselves free from work they enjoyed spending their time together cooking and baking, working on the house and garden, and entertaining friends.<ref>Rose, Barbara. "Krasner|Pollock: A Working Relationship". New York: Grey Art Gallery and Study Center, 1981. p.8.</ref>
[[File:Pollock-barn.jpg|thumb|right|Pollock's studio in [[Springs, New York]]]]

Krasner's influence on her husband's art was something critics began to reassess by the latter half of the 1960s due to the rise of feminism at the time.<ref>Tucker, Marcia. "Lee Krasner: Large Paintings". New York: Whitney Museum of American Art, 1973. pg.7</ref> Krasner's extensive knowledge and training in modern art and techniques helped her bring Pollock up to date with what contemporary art should be. Krasner is often considered to have tutored her husband in the tenets of modernistic painting.<ref name="Rose, Barbara 1981. p.6">Rose, Barbara. "Krasner|Pollock: A Working Relationship". New York: Grey Art Gallery and Study Center, 1981. p.6</ref><ref>{{Cite book |last1=Naifeh |first1=Steven |last2=Smith |first2=Gregory White |year=1989 |title=Jackson Pollock: An American Saga |url=https://archive.org/details/jacksonpollockam00naif |url-access=registration |publisher=Clarkson N. Potter |isbn=978-0-517-56084-6 }}</ref> Pollock was then able to change his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became the one judge he could trust.<ref name="Rose, Barbara 1981. p.6" /><ref name="Berger, John 2015. p.369">Berger, John. "Portraits: John Berger on Artists". London: Verso, 2015. p.369</ref> At the beginning of the two artists' marriage, Pollock would trust his peers' opinions on what did or did not work in his pieces.<ref name=" Berger, John 2015. p.369" /> Krasner was also responsible for introducing him to many collectors, critics, and artists, including [[Herbert Matter]], who would help further his career as an emerging artist.<ref>Landau, E.G., Cernuschi, C. "Pollock Matters". Boston: McMullen Museum of Art Boston College, 2007. p.19</ref> Art dealer [[John Bernard Myers]] once said "there would never have been a Jackson Pollock without a Lee Pollock", whereas fellow painter [[Fritz Bultman]] referred to Pollock as Krasner's "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock's career.<ref>Chave, Anna. "Pollock and Krasner: Script and Postscript". The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology, 1993. Anthropology and Aesthetics, No. 24, p.95</ref>

Jackson Pollock's influence on his wife's artwork is often discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her husband's chaotic paint splatters in her own work.<ref>Wagner, Anne M. "Lee Krasner as L.K.", Representations, No. 25 (Winter, 1989): 42–57. PRINT. p.44</ref> There are several accounts where Krasner intended to use her own intuition as a way to move towards Pollock's ''I am nature'' technique in order to reproduce nature in her art.<ref>Anne M Wagner. Three Artists (Three Women): Modernism and the Art of Hesse, Krasner, and O'Keeffe. (Berkeley: University of California, 1996.) p. 107</ref>