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Speaker 1: Pushkin. It's an early morning in May nineteen forty two.

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Speaker 1: Lee Krasner is in her apartment on Ninth Street when

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Speaker 1: she hears someone outside. Lee opens the door. It's someone

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Speaker 1: she recognizes.

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Speaker 2: It was Pollack's brother, saying she had to come to

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Speaker 2: the hospital because Pollack had been on a bender.

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Speaker 1: Lee doesn't know what to think. She asks where exactly

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Speaker 1: Jackson is. Here's Mary Gabriel, who you heard from in

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Speaker 1: our previous episodes.

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Speaker 2: He was in such a bad way that he ended

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Speaker 2: up in Bellevue Hospital, New York's infamous hospital for Darryl

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Speaker 2: lexim mentally infirm for years.

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Speaker 1: Jackson had tried to stop king, but nothing helped for long.

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Speaker 1: At Bellevue, Lee could see that he was in bad shape.

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Speaker 2: The man she saw on the bed was not the

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Speaker 2: man she'd come to know.

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Speaker 1: Lee is speechless for a second. She knew Jackson like

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Speaker 1: to drink, but nothing like this.

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Speaker 2: She just said, pull yourself together.

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Speaker 1: Lee cleans Jackson up, gets him dressed, and holds him

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Speaker 1: into a cab. Back at his flat. She feeds him

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Speaker 1: milk and eggs.

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Speaker 2: That was the first of what would become a lifetime

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Speaker 2: of such incidents with Lee. You know dragging Pollock back

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Speaker 2: from the very edge, nursing him back to life, putting

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Speaker 2: him on his feet, hoping to God that he continued

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Speaker 2: in the direction he needed to go.

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Speaker 1: At this point, Lee is thirty three years old. She's

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Speaker 1: shown her work in a big exhibition with important artists.

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Speaker 1: She's also met someone who she feels is her artistic equal,

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Speaker 1: someone whose work she really believes in. But now this

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Speaker 1: His drinking is so bad he's ended up in a

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Speaker 1: psychiatric hospital, and still they have no money. It's a

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Speaker 1: lot to handle, and Lee's not sure she can. But

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Speaker 1: then she hears a whisper on the grapevine that gives

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Speaker 1: her hope. A whisper about a party girl airess who's

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Speaker 1: just arrived in the city. She's come with a bunch

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Speaker 1: of paintings, Margreet's Dullies and others that she smuggled out

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Speaker 1: from under the nose of the Nazis. She's got cash

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Speaker 1: to spend and a desire to buy new American art.

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Speaker 2: The most important thing about it was it gave these

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Speaker 2: artists hope that there was passively an audience.

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Speaker 1: Her name was Peggy Guggenheim, and Lee thought she might

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Speaker 1: just be the solution to all of their problems if

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Speaker 1: only Lee can get her attention. I'm Katie Hessel and

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Speaker 1: this is Death of an Artist Krasner and Pollock, Episode three,

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Speaker 1: The Collector. I'm going to go back in time now

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Speaker 1: to a few months before Jackson's drinking landed him at Bellevue,

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Speaker 1: because those months leading up to that moment is actually

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Speaker 1: when Lee and Jackson first start to get to know

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Speaker 1: each other. In January nineteen forty two, Lee went to

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Speaker 1: an exhibition organized by a friend. On the walls were

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Speaker 1: paintings by her Idols, Matisse, Picasso, Brack, and one of

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Speaker 1: her very own paintings, a still life that had morphed

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Speaker 1: into colorful abstract shapes.

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Speaker 2: She was the tap of the art heap in Manhattan,

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Speaker 2: center of the scene.

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Speaker 1: As author Mary Gabriel says, in the last few years,

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Speaker 1: Lee had become one of the most watched artists in

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Speaker 1: New York, but it was still a small, mostly unknown scene.

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Speaker 1: People were struggling to get by and get noticed, and

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Speaker 1: yet here she was, her work hanging up beside Picasso's.

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Speaker 1: Lee was a big deal and everyone wanted to talk

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Speaker 1: to her. But that night there was another reason people

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Speaker 1: were staring. Lee had arrived with a new man on

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Speaker 1: her own, Jackson Pollock.

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Speaker 2: This shy, good looking young man appeared at this art

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Speaker 2: opening on the arm of a supernova.

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Speaker 1: Jackson had a painting on show too, called Birth. It

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Speaker 1: was a vision of childbirth with fragmented limbs intersecting with

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Speaker 1: Native American symbols painted in reds, blues, and whites.

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Speaker 2: Lee's was considered the stronger work. Pollack's was considered kind

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Speaker 2: of timid.

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Speaker 1: That night, the only really interesting thing about Jackson was

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Speaker 1: that he was with Lee.

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Speaker 2: Pollack was a complete unknown. Her friends didn't really know

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Speaker 2: what to make of them. Some of them thought he

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Speaker 2: wasn't worthy of Lee, that he didn't have the personality,

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Speaker 2: that his art wasn't good enough.

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Speaker 1: But Lee didn't care much for gossip. She wanted to

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Speaker 1: see more of Jackson the very moment she'd entered his flat.

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Speaker 1: She was impressed by his work, and she wanted to

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Speaker 1: see what else he had in him. Plus she thought

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Speaker 1: he was kind of cute. Soon they started dating, but

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Speaker 1: Lee wasn't interested in candle lit dinners and small talk.

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Speaker 1: Their courtship looked a little different.

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Speaker 2: I mean literally, the sparks that would have been flying

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Speaker 2: as they visited each other's studio. When she walked into

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Speaker 2: his and saw what he was doing, when he walked

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Speaker 2: into hers and sow what she was doing.

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Speaker 1: Lee's studio was super tidy, neat stacks of canvasses, with

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Speaker 1: all the different styles she'd been working on, the latest,

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Speaker 1: usually standing on an easel. Jackson didn't even have his

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Speaker 1: own studio. He lived in his brother's cramped flat and

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Speaker 1: painted in the front room, surrounded by rubbish, old paint cans,

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Speaker 1: and broken coffee cups. His latest work usually just taped

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Speaker 1: to the wall. The early days of their relationship mostly

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Speaker 1: took place in these two spaces.

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Speaker 2: The relationship was built around art, beyond merely romantic or

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Speaker 2: sexual attraction. They had this intense artistic bond.

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Speaker 1: Lee was the educated one. She knew all the latest

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Speaker 1: trends in European modern art, and she was well connected.

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Speaker 1: Jackson was an outsider. He'd trained with a traditional mural

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Speaker 1: painter known for his illustrative scenes of American life. But

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Speaker 1: there was some shed ground his Lee. Our mutual interest

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Speaker 1: in painting was the Parish school of painting. We'd either

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Speaker 1: be talking about Casso or arguing about my teas. So

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Speaker 1: always French painting. That was their date chat.

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Speaker 2: They regarded each other equally as artists. His respect for

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Speaker 2: her work was great, her respect for his work was great.

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Speaker 2: They became so comfortable with these jays work. Then they

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Speaker 2: took liberties.

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Speaker 1: One night, Jackson was over at Least studio looking at

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Speaker 1: one of her paintings. Now I don't know exactly which

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Speaker 1: one it was, but at the time Lee was making

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Speaker 1: colorful paintings with blocks of whites, pinks, and blues broken

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Speaker 1: up with curvy, loose lines inspired by Matis. I really

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Speaker 1: like these works. They're kind of jazzy and show the

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Speaker 1: start of something. Anyway, Jackson was standing in front of

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Speaker 1: one of these paintings giving his opinion. Lee looked at

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Speaker 1: the painting more closely. Something wasn't quite right, she.

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Speaker 2: Thought, snap, my painting, and she realized that Powak had

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Speaker 2: been there and it actually worked on it.

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Speaker 1: She shot Jackson a death ste Rule number one of

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Speaker 1: dating an artist don't mess with their work.

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Speaker 2: An absolute violation of the highest degree for any artist

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Speaker 2: that is just not done.

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Speaker 1: Lee yelled, that's not my painting and slashed the canvas.

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Speaker 1: If it had been anyone else, that would have been

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Speaker 1: the end for Lee. Relationship over, but a month or

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Speaker 1: so later, Lee was back at Jackson's studio looking at

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Speaker 1: one of his paintings.

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Speaker 2: She had a brush in her hand, a paint brush,

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Speaker 2: and it had paint on it.

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Speaker 1: Again, we don't know the exact work Lee was in

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Speaker 1: front of, but at that time Jackson was making heavily

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Speaker 1: texted canvases depicting surreal part animal part human forms mixing

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Speaker 1: sand and paint together.

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Speaker 2: And I don't know if she was paying him back

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Speaker 2: for all the liberties had taken with her work, but

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Speaker 2: she approached the painting closer and closer until she finally

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Speaker 2: touched it and left a smear of paint on his work.

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Speaker 1: Check Mate.

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Speaker 2: He stormed out and said, you know you've finished the

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Speaker 2: guard dayan painting.

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Speaker 1: They squabbled like kids or like temperamental artists, but all

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Speaker 1: they wanted to do was hang out with each other.

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Speaker 1: Lee started showing him the good life, having a coffee

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Speaker 1: out together, taking him to cool parties, and soon they

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Speaker 1: became a bit of an it couple, an item of gossip.

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Speaker 2: Another painter on the scene said she actually felt like

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Speaker 2: Palack stole from Lee as his style developed, it as

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Speaker 2: he became stronger, it was because of Lee's influence in

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Speaker 2: what Lee was doing on canvas.

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Speaker 1: It's true that when Lee looked at Jackson's latest paintings,

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Speaker 1: she could see her impact. She'd introduced him to one

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Speaker 1: of her heroes, Matisse, who used color like bluebody else,

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Speaker 1: and soon Jackson turned away from muddy brown's and reds

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Speaker 1: and embraced vibrant blues pinks. He turned away from symbols

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Speaker 1: and went in a more abstract direction.

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Speaker 2: After meeting Lee, Jackson began painting in a much freer style,

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Speaker 2: not fully abstract. There were recognizable figures in them, women, animals,

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Speaker 2: but they were done in such a fresh way, with

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Speaker 2: such intense color, such passion, and the result was really magnificent.

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Speaker 1: And when Jackson was in a rut, he turned to Lee.

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Speaker 2: Lee spoke to him in a way that reassured him completely.

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Speaker 2: She gave him the encouragement he needed at that very

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Speaker 2: delicate moment to go beyond himself, to take the chances

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Speaker 2: he needed to take.

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Speaker 1: Lee had always tried to avoid destructions from her own career.

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Speaker 1: Determined and laser focused, she sought out the right schools,

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Speaker 1: the right mentals, and the right shows. Being with Jackson

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Speaker 1: shifted something for her. Here's what Lee said in an interview.

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Speaker 1: I must admit I didn't resist very long. I was

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Speaker 1: terribly drawn to Jackson, and I fell in love with

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Speaker 1: him physically, mentally, in every sense of the word. I

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Speaker 1: had a conviction when I met Jackson that he had

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Speaker 1: something important to say, something important to say that the

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Speaker 1: world needed to know, something no one apart from Lee

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Speaker 1: was hearing or seeing. Yet, for the first time in

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Speaker 1: her life, Lee started to wonder maybe her mission to

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Speaker 1: make a new kind of art in America was not

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Speaker 1: just about her own work. Maybe it was also about

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Speaker 1: Jackson's encouraging it, shaping it, and ultimately convincing the world

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Speaker 1: how important it was. In that same interview, she said,

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Speaker 1: my own work became irrelevant. He was the important thing.

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Speaker 1: I couldn't do enough for him. I know this sounds

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Speaker 1: like a bit of a one eighty from Lee. Certainly,

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Speaker 1: it was surprising to me that, after everything she'd sacrificed

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Speaker 1: for her own work, she'd begin to focus on someone else's.

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Speaker 1: But the more I listened to Lee's interviews, looked at

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Speaker 1: her writings, I came to think of it this way.

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Speaker 1: Lee's devotion to art was so total, so spiritual and

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Speaker 1: uncompromising that it transcended the usual bounds of artistic ego,

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Speaker 1: of success and fame. If Lee was going to achieve

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Speaker 1: her aim through Jackson, maybe so be it. But then,

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Speaker 1: just as Lee was starting to feel this way, she

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Speaker 1: got that knock on the door I told you about.

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Speaker 2: Pallack's brother, saying she had to come to the hospital

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Speaker 2: because Pollack had been on a bender.

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Speaker 1: He was in Bellevue Hospital, and Lee went to get him.

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Speaker 1: Before that day, her relationship with Jackson had been about art. Now,

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Speaker 1: as she was nursing him back to life, other concerns

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Speaker 1: wandered into her mind.

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Speaker 2: You know, they had very little by way of money.

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Speaker 1: The government scheme that had been tiding Lee over for

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Speaker 1: the past couple of years was finally drying up. Soon

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Speaker 1: they wouldn't have enough money even for food, and now

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Speaker 1: Jackson's drinking had landed him in hospital. No one in

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Speaker 1: New York was buying the kind of art they were making.

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Speaker 1: But Lee understood the reality that if either of them

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Speaker 1: were going to sell anytime soon, it would probably be him,

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Speaker 1: because he was a man. Being a woman artist at

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Speaker 1: least one who actually made money was not a thing,

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Speaker 1: and so Lee practical as ever realized something, she.

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Speaker 2: Would have to be the agent, the one who represented him,

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Speaker 2: the one who kind of did aside her soul of

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Speaker 2: making sure that the right people saw his work.

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Speaker 1: And just as Lee started scheming, she heard the news

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Speaker 1: a wealthy heiress had just arrived in New York with

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Speaker 1: a massive collection of European modern art, the very kind

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Speaker 1: that had inspired Lee, and rumor had it, this woman

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Speaker 1: was now interested in something else in New American art.

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Speaker 1: Her name was Peggy Gubenheim. That's after the breakdown. In

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Speaker 1: October Sober nineteen forty two, Peggy Guggenheim's gallery opened in

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Speaker 1: New York. It was called Art of This Century and

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Speaker 1: was just south of Central Park. This was no ordinary

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Speaker 1: white walled gallery. It was a tube shaped room with

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Speaker 1: curved walls and a turquoise floor. Sheaths of material that

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Speaker 1: looked like sails hung from the ceiling and on them,

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Speaker 1: with paintings facing all kinds of directions. Here's Jacqueline Bogar DWorld,

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Speaker 1: Peggy's biographer.

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Speaker 3: People were shocked. They didn't know what to make of it.

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Speaker 3: Many critics didn't think it was art.

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Speaker 1: There were Picasso's stark cubist visions of an artist's studio

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Speaker 1: or mirrors, disfigured creatures. Even for her, this felt totally knew, intimate, dreamlike,

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Speaker 1: and definitely radical. In the middle of the sales and

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Speaker 1: the most cutting edge art was the mysterious Peggy Guggenheim,

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Speaker 1: surrounded by the who's who of the New York art scene.

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Speaker 3: She had this quality, this charisma, this ability to have

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Speaker 3: all eyes on her in the room.

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Speaker 2: She had her hair dyed a bootblack.

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Speaker 3: She was very much a presence.

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Speaker 1: She worked the room.

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Speaker 3: She'd have one lighters like how many husbands have you had?

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Speaker 3: And she'd say mine or other people.

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Speaker 1: Peggy spent most of her time at the opening talking

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Speaker 1: to the well heeled crowd, business people, Some of them

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Speaker 1: even seemed to be considering buying the art. The vibe

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Speaker 1: felt different, new electric.

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Speaker 3: Peggy creates a world where there wasn't one before. She

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Speaker 3: becomes a beacon, if you will, of the new art.

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Speaker 1: A rumor went around that for her next show, Peggy

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Speaker 1: was considering actually buying work from some of the New

255
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Speaker 1: York artists Lee's crowd.

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Speaker 3: When Peggy arrived in New York, there were only a

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Speaker 3: handful of galleries showing American art, and none of them

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Speaker 3: showing the new American art.

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Speaker 1: The idea of Peggy showing contemporary American art was a

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Speaker 1: big deal because to everyone here Peggy Guggenheim eccentricities aside,

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Speaker 1: was herself a very big deal. She would eventually become

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Speaker 1: one of the most influential collectors and tastemakers of the

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Speaker 1: twentieth century, someone who identified in art that very few

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Speaker 1: even knew existed and made it popular.

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Speaker 4: I think I got in this, said Monath a minute

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Speaker 4: I got into I learned it.

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Speaker 1: Peggy was born in eighteen ninety eight into one of

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Speaker 1: the most prominent families in America, but when she was thirteen,

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Speaker 1: her life was turned upside down her father died on

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Speaker 1: the Titanic. Peggy was left with a massive inheritance over

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Speaker 1: ten million dollars in today's cash, and unsure of her

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Speaker 1: direction in life. So in nineteen twenty, when she was

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Speaker 1: twenty two, she decided to leave home, leave America.

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Speaker 3: And she went to Paris, like many many people did

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Speaker 3: in those days, because.

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Speaker 2: It was the place to be.

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Speaker 3: You sat in the cafes, you would absorb what was

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Speaker 3: going on because people would talk and and somehow you

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Speaker 3: know about what was happening. You would have met some

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Speaker 3: of the players.

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Speaker 1: Ernest Hemingway and f Scott Fitzgerald were brooding over black coffee,

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Speaker 1: trying to reinvent the novel. Coco Chanel was challenging women

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Speaker 1: to ditch their corsets for a little black dress.

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Speaker 2: Eagle.

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Speaker 1: Stravinsky's avant garde symphonies were stunning audiences, and at night

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Speaker 1: everyone headed to the bars. Peggy fit right in.

287
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Speaker 3: Peggy was one of the group. She was a rebellious

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Speaker 3: type of person. She liked that idea of shocking and

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Speaker 3: being outre and being different that was in her soul,

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Speaker 3: shall we say and mean as early as when she

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Speaker 3: was a schoolgirl. She shaved off her eyebrows, which was

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Speaker 3: then in vogue, but it shocked everybody.

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Speaker 1: Peggy spent most of her nights at clubs in Montparnasse,

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Speaker 1: probably wearing a peacock headdress and dancing the foxtrot with

295
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Speaker 1: women dressed in monocles and tales. Other nights she might

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Speaker 1: have ended up at Cole Porter's house, listening to him

297
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Speaker 1: plays scandalous jazz while she chatted up the men.

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Speaker 3: Well, she went to bed with every man she ever met.

299
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Speaker 3: If she didn't it wasn't from want of trying.

300
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Speaker 1: But the people who really caught Peggy's attention were the artists.

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Speaker 1: She hung out in cafes with Pablo Picasso, Salvador Dalis,

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Speaker 1: and Marcel Duchamp. They spent all their time feverishly talking

303
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Speaker 1: about new kinds of art, images they said came straight

304
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Speaker 1: out of their dreams or that broke the rules of representation.

305
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Speaker 1: And Peggy started to think about something she could do

306
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Speaker 1: with all of her money. What if she spent it

307
00:21:56,499 --> 00:22:00,859
Speaker 1: on this new, mysterious, beautiful art art no one else

308
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Speaker 1: was paying much attention to.

309
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Speaker 3: She begins then to buy a picture from every show

310
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Speaker 3: she wanted to show the kind of art that was

311
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Speaker 3: not traditional. It wasn't by any means a given that

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00:22:13,659 --> 00:22:17,139
Speaker 3: this was an accepted art, or that people thought of

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Speaker 3: it even out art.

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Speaker 1: Peggy didn't care, though. She opened a small gallery and

315
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Speaker 1: was even planning to start a museum. Then something happened

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Speaker 1: that brought the party to a stop. Before Hitler declared

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Speaker 1: actual war, he declared war on art in the nineteen thirties.

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Speaker 1: The Nazis had seized more than fifteen thousand works and

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Speaker 1: staged degenerate art exhibitions in Munich, labeled degenerate for not

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Speaker 1: conforming to Hitler's ideology. They featured many of the artists

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Speaker 1: Peggy collected or wanted to, Paul Clay, Picasso, Mondrian Dinski.

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Speaker 1: In nineteen thirty nine, Hitler announced that all modern art

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Speaker 1: was degenerate and should be destroyed. This flipped a switch

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00:23:23,699 --> 00:23:28,219
Speaker 1: in Peggy. Her passion for collecting turned into a rescue

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Speaker 1: mission to save modern art from the Nazis.

326
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Speaker 3: So she went about collecting a picture a day.

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Speaker 1: Peggy went to see every artist she knew, cash in hand.

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Speaker 3: Since it was the war coming down the pipe, the

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Speaker 3: artists were only too happy to sell the.

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Speaker 2: Art to her.

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Speaker 1: Well, almost everyone.

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Speaker 3: Where she went to visit Pablo Picasso, he said, well, lady,

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Speaker 3: le laingerie is on the third floor. He resented that

334
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Speaker 3: she was buying pictures like she would be buying, you know, underwear.

335
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Speaker 1: But Peggy just kept on buying.

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00:24:08,579 --> 00:24:13,299
Speaker 3: She visited them all, and she bought pictures for very

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Speaker 3: little money.

338
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Speaker 1: By around nineteen forty she had a mass the greatest

339
00:24:18,979 --> 00:24:22,819
Speaker 1: collection of modern art in the world. Today it is

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Speaker 1: worth hundreds of millions of dollars.

341
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Speaker 3: Peggy's main concern then was how to preserve her by

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Speaker 3: now extensive collection.

343
00:24:31,779 --> 00:24:35,099
Speaker 1: She asked the biggest museum in Paris, the Louver, to

344
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Speaker 1: store it.

345
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Speaker 3: The louverra wouldn't save it. They consider it none art

346
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Speaker 3: to a large.

347
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Speaker 1: Degree, so Peggy decided to take matters into her own hands.

348
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Speaker 1: In nineteen forty she left Paris and secretly stashed her

349
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Speaker 1: art in a warehouse in the south of France, and

350
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Speaker 1: she laid low. Nine months later, she put her precious

351
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Speaker 1: collection on board a ship bound for America. She labeled

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00:25:08,739 --> 00:25:12,379
Speaker 1: it hold goods and prayed no one would take a

353
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Speaker 1: closer look. On the twelfth of June nineteen forty one,

354
00:25:17,979 --> 00:25:21,899
Speaker 1: a few days before the Germans marched into Paris, Peggy

355
00:25:22,019 --> 00:25:29,539
Speaker 1: fled the country. By July she was safely back in Manhattan,

356
00:25:31,459 --> 00:25:35,699
Speaker 1: and a year later, here she was at her own gallery,

357
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Speaker 1: ruling the roost the bell of the ball. In the

358
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Speaker 1: spring of nineteen forty three, Peggy opened a show all

359
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Speaker 1: of the New York artists had been waiting for. Because

360
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Speaker 1: this show was about them.

361
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Speaker 2: You can imagine that just a few months earlier, these

362
00:25:54,219 --> 00:25:57,819
Speaker 2: artists only dreamed of being and the walls in her gallery,

363
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Speaker 2: and now she was offering them the opportunity for them

364
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Speaker 2: to show as well.

365
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Speaker 1: On opening night, everyone was.

366
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Speaker 2: There, collectors, other gallery honors, museum officials, art critics, everyone

367
00:26:10,979 --> 00:26:12,939
Speaker 2: who was anyone in the art world.

368
00:26:14,979 --> 00:26:18,779
Speaker 1: Lee pushed through the throngs, trying to draw people towards

369
00:26:18,939 --> 00:26:23,939
Speaker 1: one painting in particular, a mix of distorted human figures

370
00:26:23,939 --> 00:26:28,579
Speaker 1: and animal body parts over painted with scratchy lines. This

371
00:26:28,619 --> 00:26:32,899
Speaker 1: one was by Jackson, and Lee wanted everyone to pay attention.

372
00:26:34,059 --> 00:26:38,459
Speaker 2: She essentially worked at his promoter. She would bring art

373
00:26:38,499 --> 00:26:42,379
Speaker 2: critics in art dealers in to look at his work.

374
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Speaker 1: But it had meant putting her own painting on the

375
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Speaker 1: back burner for now.

376
00:26:47,739 --> 00:26:51,259
Speaker 2: Lee chose not to submit any works because she would never,

377
00:26:51,459 --> 00:26:54,459
Speaker 2: throughout her career compete directly with Jackson in any way.

378
00:26:55,779 --> 00:26:58,699
Speaker 1: The supernova of the New York art scene might have

379
00:26:58,779 --> 00:27:01,619
Speaker 1: had none of her own paintings in the show, but

380
00:27:01,739 --> 00:27:05,179
Speaker 1: she was on a mission. She needed Jackson's paintings to

381
00:27:05,179 --> 00:27:10,419
Speaker 1: get noticed. Because this group show was just stage one.

382
00:27:10,019 --> 00:27:15,539
Speaker 2: Peggy started expressing an interest in showing individual artists from

383
00:27:15,579 --> 00:27:18,699
Speaker 2: this exhibition that she would start representing some of these

384
00:27:18,819 --> 00:27:22,979
Speaker 2: artists in her gallery.

385
00:27:21,299 --> 00:27:25,179
Speaker 1: Actually giving someone a solo show. This could be a

386
00:27:25,219 --> 00:27:29,019
Speaker 1: game changer if you had a solo show, you might

387
00:27:29,179 --> 00:27:32,899
Speaker 1: actually have a chance of selling, a chance of earning

388
00:27:32,939 --> 00:27:36,539
Speaker 1: some money, and Lee wanted this to go to Jackson

389
00:27:36,859 --> 00:27:41,059
Speaker 1: because at this stage they were desperate, so Lee was

390
00:27:41,139 --> 00:27:45,219
Speaker 1: all the more determined to get Peggy's attention. But she

391
00:27:45,379 --> 00:27:47,979
Speaker 1: knew that coosing up to Peggy at an event like

392
00:27:48,059 --> 00:27:52,299
Speaker 1: this was going to get her nowhere. She needed to

393
00:27:52,339 --> 00:28:06,259
Speaker 1: set up a proper professional meeting a few weeks after

394
00:28:06,299 --> 00:28:09,219
Speaker 1: that group show. On an early June morning in nine,

395
00:28:09,299 --> 00:28:13,179
Speaker 1: eighteen forty three, Lee was in Jackson's flat hanging up

396
00:28:13,219 --> 00:28:16,579
Speaker 1: her favorite of his works on the walls. She tilted

397
00:28:16,579 --> 00:28:19,899
Speaker 1: one a little to straighten it. Everything had to be

398
00:28:20,059 --> 00:28:23,699
Speaker 1: perfect because that day they were going to receive a

399
00:28:23,779 --> 00:28:26,779
Speaker 1: visit from the most important person in the art world,

400
00:28:27,419 --> 00:28:32,219
Speaker 1: Peggy Guggenheim herself, and Lee knew that this visit could

401
00:28:32,339 --> 00:28:33,459
Speaker 1: change everything.

402
00:28:34,299 --> 00:28:37,059
Speaker 2: The first time she ever saw his work, the earth

403
00:28:37,179 --> 00:28:39,019
Speaker 2: moved for her in a way that it did when

404
00:28:39,019 --> 00:28:42,979
Speaker 2: she saw Picasso or Matisse, and Lee wanted Peggy to

405
00:28:43,059 --> 00:28:43,779
Speaker 2: have that feeling.

406
00:28:44,899 --> 00:28:47,979
Speaker 1: If Peggy liked Jackson's paintings, it would be the best

407
00:28:48,099 --> 00:28:51,059
Speaker 1: chance they'd had yet to get a solo show, make

408
00:28:51,099 --> 00:28:55,339
Speaker 1: a few sales, and actually pay some bills. Lee took

409
00:28:55,379 --> 00:28:58,819
Speaker 1: a final look around the room. Everything was all set.

410
00:28:59,299 --> 00:29:01,659
Speaker 1: She put a couple of her own paintings up too,

411
00:29:01,739 --> 00:29:06,259
Speaker 1: for good measure, and after one last tidy, she left

412
00:29:06,259 --> 00:29:09,979
Speaker 1: to join Jackson at a wedding. He was on best

413
00:29:10,019 --> 00:29:13,819
Speaker 1: man duties. It was a lunchtime thing, and he'd assured

414
00:29:13,859 --> 00:29:20,059
Speaker 1: her it wouldn't take long. A few hours later, at

415
00:29:20,099 --> 00:29:23,979
Speaker 1: five minutes to four, Lee was dragging a steaming Jackson

416
00:29:24,059 --> 00:29:27,019
Speaker 1: out of the wedding, pouring black coffee down his throat,

417
00:29:27,299 --> 00:29:28,819
Speaker 1: trying to sober him up.

418
00:29:28,979 --> 00:29:33,259
Speaker 2: You know, drooling, spitting drunk polock to a cafeteria to

419
00:29:33,299 --> 00:29:35,699
Speaker 2: try to sober him up so he'd be presentable when

420
00:29:36,099 --> 00:29:37,659
Speaker 2: he met Peggy.

421
00:29:37,739 --> 00:29:41,459
Speaker 1: He still looked terrible, but he could walk, sort of.

422
00:29:41,939 --> 00:29:44,099
Speaker 2: She got him to the stage where he could get

423
00:29:44,099 --> 00:29:45,099
Speaker 2: as far as their home.

424
00:29:45,979 --> 00:29:50,379
Speaker 1: But as Lee dragged Jackson along their street, her heart sank.

425
00:29:50,939 --> 00:29:54,459
Speaker 1: She could see Peggy Guggenheim walking out their door.

426
00:29:55,259 --> 00:29:57,979
Speaker 2: She and her assistant had climbed the five flights up

427
00:29:58,019 --> 00:30:03,019
Speaker 2: to Jackson and Lee's studio, waited very impatiently for Powerck

428
00:30:03,099 --> 00:30:06,339
Speaker 2: and Lee to arrive home, and when they didn't, after

429
00:30:06,939 --> 00:30:09,219
Speaker 2: fifteen minutes to Peggy's mind that was the end of

430
00:30:09,339 --> 00:30:12,339
Speaker 2: her relationship with Pallock. She stormed down the steps.

431
00:30:12,859 --> 00:30:14,619
Speaker 1: Peggy looked like she was fuming.

432
00:30:15,139 --> 00:30:17,099
Speaker 2: That was going to be the end of Peggy's support

433
00:30:17,099 --> 00:30:17,579
Speaker 2: for Pollack.

434
00:30:20,859 --> 00:30:24,899
Speaker 1: Lee sprinted across the road and went into full groveling mode.

435
00:30:25,299 --> 00:30:28,219
Speaker 2: So Lee and Peggy's assistant spent fifteen minutes trying to

436
00:30:28,219 --> 00:30:31,059
Speaker 2: convince Peggy that it would be worth her while to

437
00:30:31,219 --> 00:30:34,659
Speaker 2: mount those steps again in the heat of the early

438
00:30:34,739 --> 00:30:39,779
Speaker 2: summer in New York to look at Jackson's work. Surprisingly,

439
00:30:39,859 --> 00:30:40,419
Speaker 2: she agreed.

440
00:30:41,259 --> 00:30:44,899
Speaker 1: Lee marshaled Peggy back up towards the flat. She opened

441
00:30:44,939 --> 00:30:47,619
Speaker 1: the door for Peggy, who still seemed furious.

442
00:30:47,979 --> 00:30:51,419
Speaker 2: The first paintings she encountered were Lee's. Lee signed her

443
00:30:51,459 --> 00:30:55,139
Speaker 2: paintings el K and as a slight. When Peggy walked

444
00:30:55,179 --> 00:30:57,099
Speaker 2: in the door, she said, who is el K? I

445
00:30:57,099 --> 00:30:59,619
Speaker 2: didn't climb these steps to look at el Ka's painting.

446
00:31:00,739 --> 00:31:05,139
Speaker 1: Lee bit her tongue today was about Jackson. She ushered

447
00:31:05,139 --> 00:31:08,099
Speaker 1: Peggy in front of the painting she'd carefully picked out

448
00:31:08,739 --> 00:31:12,419
Speaker 1: with ill shapes and also the bright blues and reds

449
00:31:12,619 --> 00:31:16,579
Speaker 1: she'd introduced him to, full of free brushstrokes painted with

450
00:31:16,619 --> 00:31:21,259
Speaker 1: an energy no one else had. Lee saw Peggy lean

451
00:31:21,339 --> 00:31:22,619
Speaker 1: in for a closer look.

452
00:31:23,179 --> 00:31:25,139
Speaker 2: Peggy wasn't effusive.

453
00:31:24,939 --> 00:31:27,179
Speaker 1: That wasn't necessarily ann.

454
00:31:27,899 --> 00:31:30,859
Speaker 2: She looked at the work without declaring whether or now

455
00:31:30,939 --> 00:31:32,259
Speaker 2: she would represent Jackson.

456
00:31:33,099 --> 00:31:36,899
Speaker 1: Lee held her breath. Their livelihoods hung in the balance.

457
00:31:37,579 --> 00:31:41,299
Speaker 1: Peggy had the power to change everything for them, but

458
00:31:41,539 --> 00:31:45,459
Speaker 1: only if Lee could convince her that Jackson, the man

459
00:31:45,619 --> 00:31:52,619
Speaker 1: and the artist was worth it. Coming up, Lee moves

460
00:31:52,699 --> 00:31:55,339
Speaker 1: Jackson out to the countryside to give him the space

461
00:31:55,379 --> 00:31:55,939
Speaker 1: to create.

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00:31:57,059 --> 00:31:59,179
Speaker 4: For those of us who lived here, was you know,

463
00:31:59,299 --> 00:32:02,499
Speaker 4: you're getting all these Jackson poll Up paintings. What are

464
00:32:02,499 --> 00:32:05,019
Speaker 4: you going to deal with the paper you're living room?

465
00:32:05,219 --> 00:32:07,699
Speaker 4: There simply was no understanding of what he was trying

466
00:32:07,739 --> 00:32:08,379
Speaker 4: to say.

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00:32:08,139 --> 00:32:12,579
Speaker 1: With paint That's next time on Death of an Artist.

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00:32:19,339 --> 00:32:22,619
Speaker 1: Death of an Artist Krasner and Pollock is produced by

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00:32:22,699 --> 00:32:27,379
Speaker 1: Pushkin Industries and samasdat Audio. Clem Hitchcock is our producer.

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00:32:28,019 --> 00:32:32,619
Speaker 1: Story editing by Dasherlitz at Sina, Sophie Crane and Karen

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00:32:32,699 --> 00:32:37,779
Speaker 1: Schakerji from Pushkin. The executive producer is Jacob Smith from

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00:32:37,819 --> 00:32:42,619
Speaker 1: samasdaut Audio. The executive producers are Dasherlitz at Sena and

473
00:32:42,739 --> 00:32:48,459
Speaker 1: Joe Sykes, sound design by Peregrin Andrews. Original scoring and

474
00:32:48,579 --> 00:32:53,059
Speaker 1: our theme were composed by Martin Ustwick. Fact checking by

475
00:32:53,219 --> 00:32:59,219
Speaker 1: Arthur Gompertz. Special thanks to Jacob Weisberg. Many thanks to

476
00:32:59,339 --> 00:33:03,699
Speaker 1: Jacqueline Bogard World for her audio interviews of Peggy Guggenheim,

477
00:33:03,859 --> 00:33:07,779
Speaker 1: which formed the basis of her book, Peggy the Wayward Guggenheim.

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00:33:08,299 --> 00:33:09,139
Speaker 2: Do check it out.

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Speaker 1: I'm Katie Hassel.