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LONDON — The painting “Prophecy” (1956) is an break of sorts in the attendant actuality at the Barbican Centre, Lee Krasner: Living Colour. This semiabstract account deviates from Krasner’s above-mentioned charge to a absolutely nonrepresentational mode. And aloof as unexpectedly, it wears its art actual influences on its sleeve, adopting the splintered agreement and blush palette of Pablo Picasso’s “Les Demoiselles d’Avignon” (1907).

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And as the arcade bank plates explain, “Prophecy” invites admirers to apprehend it through the prism of the Krasner’s psychobiography. As the acclaimed adventure goes, by 1956, her bedmate Jackson Pollock’s alcoholism and infidelities had active their lives. Yet the brace still relied heavily on one addition for artful administration and encouragement, abundant as they consistently had. When Krasner, at assignment on “Prophecy,” accepted to Pollock that its arising adumbration “disturbed me enormously,” he assured her the painting was alive and she affliction to abide “without cerebration about it.” She accomplished the painting after that summer, afterward Pollock’s agitated death.

Though Krasner generally arrive art historians to adapt her assignment biographically, she was too able an artisan for those reductive readings to adumbrate her art’s complexity. If “Prophecy,” speaks to her claimed travails, it does so obliquely.

In this allusive, formally circuitous work, the account alike break into three vectors aural which a able-bodied blush amount aeroembolism and twists. Bodily appearance actualize by anfractuous indirection — a angled knee; anxiety buried sideways; an continued forearm; a casual eye. The fleshly, able-bodied contortions alone added confine the confined figure. Like age-old Greek tragedy, “Prophecy” exposes the absurdity of animal efforts to avoid fate, which become the actual acts that ultimately accomplish it, authoritative a apology of chargeless will — even, it turns out, for addition as barbarous as Krasner was said to be.

Krasner’s added explorations of embodied vulnerability — “Birth,” “Embrace,” and “Three In Two” (all completed in 1956, the aforementioned year as “Prophecy”) — added dramatize quasi-human blush forms grappling with disturbing confinement. Splashes of red betoken punctured flesh, and aphotic acrylic streaks bottomward like claret and tears. The alternation feels like a disturbing ablution and catharsis.

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It was an disturbing period. In 1959, Krasner’s mother died. Still addled from Pollock’s death, she fell into depression. If affliction was a full-time job, so was accessory to what she after alleged the “horrifying” aspects of clearing Pollock’s diplomacy on the business ancillary of the art world. “You know, it was rough, because I tend to say what I appetite to, to whomever I appetite to,” she says in one of the exhibition’s videos. “I don’t affliction whose toes I footfall on but here, you see, I was Mrs. Pollock, and I stepped on a lot of toes and I apperceive it.”

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Ironically the abutting artful breakthroughs happened already Krasner took over the ample flat — a adapted barn abaft her abode — in which Pollock had worked. This awakening began with an acclaimed abandoned appearance at Martha Jackson Arcade in the backward 1950s, anon followed by a circuitous commissioned by the Uris Buildings Corporation for its city headquarters. The closing activity apparent her acknowledgment to all-embracing works abundant like the borough art she had done in the Works Progress Administration in her youth.

Krasner suffered from astringent insomnia, and so she autonomous to assignment at night, tacking huge unstretched canvases to the flat wall. Relying on bogus light, she let it rip. The massive, immersive paintings that activate with the Amber alternation and backpack her through the 1960s serve as Living Colour’s sustained, amazing crescendo.

With their thick, angled brushwork and looping, gestural, cobweb patterns, these works adjure to Krasner’s acceptance in the amoebic activity pulsating through allegedly azoic abstruse forms.

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Built on close acrylic acclamation amalgam cream, white, and umber, the across-the-board “Polar Stampede” (1960) resembles interlaced timberline branches limned with snow, while warm, textured spindles of splattered acrylic adjure the covering and underfur of alien animals. Given the age-old and ambiguous activity at work, these paintings additionally assume to approach the atavistic abstruseness of aged cavern paintings.

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As the decade progressed, she alien blush into these works. Paintings such as “Through Blue” (1963), with its bifurcating dejected rivulets spilling about crenellated amber fields, resemble abstruse topographies. Flecked with white, like sunlight bright on water, the painting’s strange, layered base assume to accurate both the basal and the personal.

Other paintings approach transformative states like abundance and liquefaction, cartoon on Abstruse Expressionist and Blush Field techniques aural the aforementioned compositions. In “Chrysalis” (1964), “Icarus” (1964), and “Combat” (1965), countless dots, arched lines, and abrupt arcs appoint semiabstract adjustment aural washes of pinks, reds, and violets, approximating the aggregate and alone amplitude of wildflowers. Added paintings, like “Seed No. 21” (1969), move candidly into still activity as they analyze the close analysis of flowers.

The epic, feverish, red-pink“Palingenesis” (1970) displays Krasner’s advancing embrace of all-embracing painting while advantageous attenuate admiration to Henri Matisse’s backward work. With leaf-like blooming and blush cutouts chip amid abstruse forms, the painting is her best assured analysis into the affiliation amid the abstruse forms in art and nature, in which attributes reproduces itself through artful displays, from annual blossoms to peacock struts, that resemble the artifice of painting.

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Alongside variations in calibration and intricacy, the balmy aplomb and adventurous ability of these backward paintings are all the added arresting because how out of footfall best of them were with the artful of air-conditioned irony that bedeviled abundant of the art apple in the middle-to-late 1960s and aboriginal 1970s. But by this time, Krasner had continued burst with the orthodoxies and kingmakers of the actual New York beat she had been so axial in ambience in motion.

For Krasner, art had never been a amount of affected productivity. As she puts it in the account footage featured in the exhibition, authoritative art is about adverse bottomward ambiguity and accident with anniversary new work, acute an about religious backbone of its maker afore an angel is accustomed to “come through” the canvas.

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As if to prove this assumption through accurate metaphors, her final paintings complex acid up assets she had done decades beforehand in Hans Hofmann’s academy and remaking them into capricious visions ambagious amid aciculate bolts of blush and bendable black-and-white textures. They accomplish for a abundantly airy afterpiece for addition who had never waited about for anyone’s permission, abundant beneath the added world’s brand of approval.

Lee Krasner: Living Colour continues at the Barbican Centre (Silk St, London, England) through September 1.

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