Lee Krasner and Jackson Pollock formed a private and artistic partnership ever since they met at a joint exhibition in a New York gallery in 1942. While Pollock was subsequently stylized as one of the great artistic legends of the century, Krasner was unable to step out of her late husband's shadow during her lifetime. In the New York scene, her work was considered ambitious at the time, but formally and stylistically dependent on Pollock, an assessment that was also upheld by art critics for many years. After Pollock's death, her status as an artist's widow and estate administrator continued to prevent an adequate consideration of her own work as an artist. Only in recent years has there been a cautious rehabilitation of her work, which has certainly not yet been conclusively assessed. Until now, little attention has been paid to the fact that Pollock's work is closely interwoven with Krasner's personality over a long period of time. Her artistic influences undoubtedly contributed to Pollock's ability to focus his energies and become one of the most prominent protagonists of the New York School. This book examines the points of contact and overlap in Krasner and Pollock's artistic lives before and during their years together in the studio. Through chronological analysis of the mutual relationships in their work, the dependencies, but also the fundamental idiosyncrasies of both are presented. In the comparison of parallel works from all creative phases, the different artistic objectives crystallize, whose diametrical contrast certainly did not permit a programmatic studio work, but within the studio community contributed to mutual enrichment and self-discovery.