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4 with the unreal. Robert Rauschenberg considered he was doing a great deed of deviltry in 1955 when he erased a de Kooning drawing to show the past was effaced. Pollock himself, in '51, took some old drawings on Japanese paper and tore them up to make a papier mache sculpture. And through the '60s and '70s, many artists have used collage in a didactic way, to declare the continuation of certain concepts like, for example, "women's work" with cloth. But for Krasner in this instance collage was both sword and plowshare, a handle to savage, and salvage, the early works by cutting them into lots and rooting them into new compositions. Enormous, full of action, these have something of the character of that banner of a rejuvenated civilization, Paolo Uccello's BATTLE OF THE ROMANO--a painting incidentally admired [[strikethrough]] and [[?]] [[/strikethrough]] by Krasner, Pollock and others in the early Abstract Expressionist days. Two very great figures of [[strikethrough]] d [[strikethrough]] that time paid her the compliment of confidence if there [[strikethrough]] many [[/strikethrough]] some others who failed to reckon with her refusal to stay submerged. One was Piet Mondrian who, in New York in the early 1940s, [[strikethrough]] who [[/strikethrough]] stood in front of her paintings and said, "You have a very strong inner rhythm. Never lose it." The other was Pollock. When she was suffering, as she sometimes did in those years [[strikethrough]] with [[/strikethrough]] when she was married to him, from a plenitude of troubles, he said to her more than once, "Think of it as a storm, and that it will be over eventually." And then would come her time.