"I was quite active politically just previous to this, and I'm leading into this time when I was on WPA and there was a group called the Artist's Union which was organized, so that I was extremely active in that. Again that meant more meetings and fighting for artists' rights on the WPA.. .I would say it gave me an opportunity to continue through a period of where one had a livelihood to deal with and/or painting. This allowed for painting and I'd say in that sense it was extremely influencing.. ..WPA itself ended after the War Service Project and by way of terminating, it allowed you to take one of several war courses that were being offered. After which you were supposed to be able to go into that field and earn a living. I took drafting."

“I think every once in a while I feel the need to break my medium.. .if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions.”

“They are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie.. .We broke the ground.”

“I think my painting is so autobiographical if anyone can take the trouble to read it.”

“Oral history interview with Lee Krasner, 1972, conducted by Dolores Holmesn”

“Oral history interview with Lee Krasner, 1964 Nov. 2-1968 Apr. 11”

“In 1946 what I call my 'Little Image' began breaking through this gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing.. .The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco . My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp – the way I use paint today.. .The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949.”