Viewing page 62 of 122

On several occasions in her direct and outspoken manner Lee Krasner has attributed her failure to win earlier recognition to controversies and resentments surrounding the obligations she assumed as an "art widow." After Pollock's death she was faced with pressing and complex problems regarding the exhibition and sale of his pictures. "I had to make decisions, and I stepped on a lot of toes," she explained in an interview for Newsday (November 12, 1973). ". . . So there were a lot of vendettas against Mrs. Pollock, the widow, that had to be paid back to Lee Krasner, the artist." Although she reasons that the market rose with demand, she has been credited with almost singlehandedly bringing on inflated prices for works by modern American artists because of the control she exercised over the selling of Pollock's paintings.

Lee Krasner divides her time between the East Hampton farmhouse and a large, East Side Manhattan apartment, which is decorated with Victorian furniture. She has studios at both homes and paints constantly. Gardening, tending house plants, and cooking are her hobbies. A woman of medium height, she stands at about five feet five inches tall; she has graying-brown hair that is styled by the hairdresser Kenneth. Vivien Raynor described her in the New York Time Magazine (April 2, 1967), "She has a long nose and a very full, wide mouth; the eyes-seen when she briefly removes her dark glasses-are pale blue-gray. She both speaks and listens in a deliberate way."

Aware that she has shared the fate of other artists whom the art world is slow to honor because of their sex, Lee Krasner joined the picket line at the Museum of Modern Art in 1972 in protest against the museum's reluctance to show the work of women artists. She is a supporter of the Women's Lib movement, and her own marriage was one in which husband and wife split up the housework. The art critic Barbara Rose, who interviewed her for an article in Vogue (June 1972) wrote admiringly of Lee Krasner's courage in pioneering her particular life-style: "As her paintings are visionary statements providing mysterious insights into the inner life of an artist, so, too, is Lee Krasner a visionary and a revolutionary personality as a woman. . . . Throughout our history, we have had brave, self-reliant American women who struck out on unknown paths. Lee Krasner is one of them."

References 
Art in Am 61:83+ N-D '73 por
Art N 67:43+ Mr '68 por
Artforum 12:61+ D '73
Arts Mag 41:36+ Ap '67 por
N Y Post p41 D 6 '73 por 
N Y Times p50 N 22 '73
N Y Times Mag p50+ Ap 2 '67
Newsday A p4+ N 12 '73
Time 102:76N 19 '73 por 
Gruen, John. Close-up (1967)
Who's Who in American Art, 1973
Who's Who of American Women, 1972-73

LOEB, WILLIAM
Dec. 26, 1905- Newspaper publisher
Address: b. 35 Amherst St.,Manchester, N.H.
03105; h 1750 Skyline Blvd., Reno, Nev. 89502; Prides Crossing, Mass. 01965

The Manchester Union Leader (circulation 64,000), the dominant newspaper in New Hampshire, becomes a national force once every four years, when candidates for the United States Presidential nomination go to the Granite State for the first of their primary-election battles. Outspoken William Loeb, the publisher and chief editorialist of the Union Leader since 1946, is a crusty but idealistic conservative of the old-fashioned school who backs only those candidates who share his view that the United States government should carry a big stick abroad and a small one at home. For example, he supported the candidacies of Barry Goldwater and Richard Nixon (until Nixon's rapprochement with China and the Soviet Union). Among Democrats he has generally been able to find his ilk only in such long shorts as Sam Yorty, whom he persuaded to run in 1972.

While some outsiders may consider Loeb harmlessly quixotic, people within the state are well aware of his wide influence, and he is generally acknowledged to be the man more responsible for Senator Edmund Muskie's failure to gain the Democratic Presidential nomination in 1972. Locally, Loeb's editorial energy is directed chiefly against taxation, governmental skulduggery, and political cant. The controversial publisher owns sever other New England newspapers, but he concentrates his attention on the Union Leader. The other papers are virtually autonomous, running his hard-hitting front-page editorial columns only on special occasions.

William Loeb 3d has described himself as both a "nineteenth century liberal" and a "Teddy Roosevelt conservative." When he was born in Washington, D.C. on December 26, 1905, his father, William Loeb Jr., was the private secretary and trusted confidant of President Theodore Roosevelt. Mr. and Mrs. Roosevelt were the godparents at this christening, and the hero of San Juan Hill not only exerted a close, constant influence on him throughout his formative years but remains his exemplar to this day.

Loeb's mother was Katharine W. (Dorr) Loeb. An only child, Loeb grew up in Washington and on his parent's estate in Oyster Bay, Long Island, near the Sagamore Hill residence to which Roosevelt retired. After leaving the White House, Loeb's father headed the New York Customs House and later became president of the Yukon Gold Company.

Loeb was educated at the Hotchkiss School and at Williams College, where he was an honor student in philosophy. At Williams he resigned from a social fraternity in protest against its refusal to admit a Jewish applicant, and he again created a stir when he invited William F. Green, the president of the American Federation of 

24 CURRENT BIOGRAPHY March 1974

Transcription Notes:
same as next page

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.