Creating a museum of replica works.

Thus marks the end of a phenomenal experience at Gus Fisher Gallery. The exhibition will hopefully show again in the not too distant future, with a few more works added. (at Gus Fisher Gallery)

A phenomenal opening night! Thanks to everyone for their support. (at Gus Fisher Gallery)

Less than 30-minutes to go until opening. (at Gus Fisher Gallery)

Installation is almost complete! (at Gus Fisher Gallery)

Amazing. (at Gus Fisher Gallery)

The install is looking great! Hoping to finish up today. (at Gus Fisher Gallery)

Packed up to head to Gus Fisher. Install begins today.

The original is not on display in Boston, so check out this replica Degas on Friday at Gus Fisher.

KickArts time!

Pissarro is ready to go.

This work is part of Krasner’s Little Image series of the late 1940s, which she began soon after she and her husband, Jackson Pollock, moved from New York City to Springs, New York, on Long Island. Working in a small bedroom she used as her studio, she applied thick paint—sometimes directly from the tube—in rhythmic and repetitive strokes, giving equal attention to every inch of the canvas. Like many of her peers, Krasner invented a language of private symbols that implied but did not specify meaning. -MoMA

First painting done and dusted. Five more to go...

Unused preparatory drawing from In Memory of My Feelings (1967), gouache on acetate, also at the MoMA, a gift from the artist, Lee Krasner.

The group of umber and white paintings were begun in 1959 in East Hampton, where Cool white was painted, and concluded in 1962 in New York. Sandy Friedman and Richard Howard assisted Krasner in choosing many of the titles for this group of works. -NGA

Krasner reinvented her artistic style several times during the course of her career. In the mid-1960s her work took on a spirit of free invention, embodied in broad, sweeping strokes of paint—quite different from her smaller, thickly painted, and tightly controlled canvases of the late 1940s. Though she painted abstractly, Krasner rejected the notion that her painting was devoid of content—she “wouldn’t dream of” creating a painting from a fully abstract idea, she said. In works like this one, titled after the Earth goddess of the ancient Greeks, the artist claimed to be “drawing from sources that are basic.” -MoMA

Among Krasner's masterpieces, Thaw was the expression of powerful creative forces that rose from her being at a momentous junction in her life. Painted in the Spring of 1957, at her house on Long Island where she and Jackson Pollock had lived together for 11 years. She took over the barn studio that had been his and made it her arena for action and a return to painting on a life-sized scale and in complete fullness of her personal expression. Krasner had always made nature the underlying motif in her work and that Spring, only months after Pollock's sudden death she produced the exuberant tonalities and raw brushwork perfectly exemplified in Thaw. Striking a subdued primary chord, with crimson both scumbled over raw canvas and mixed into a deep rose spread smoothly, and defined by fragmented black delineations. The vivacious movement and use of off-white to redirect volumes are biomorphic, expressionist and post-cubist in their suggestion of shapes and pictorial depth. Other paintings made in this period were titled Spring Beat, The Gate, Celebration and Equation, sometimes referred to as the Earth Green series, as they abstract forms found in nature, and contrast emerald or acid greens playing against roses, reds and oranges. The exhibition where many of these paintings were shown opened in 1958 and was titled "Jackson." -Christie’s

Seated Nude (1940), now at MoMA, though not on display.