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Doris BarskyKreindler

1901 – 1974

by Jill Wexler Greenstein

Vigorous, rapid, and exciting use of the palette knife is not usually associated with women painters in any era, but Doris Barsky Kreindler’s abstract expressionist works in the 1950s, 1960s, and early 1970s, inspired by Hans Hofmann, were exceptional. Abstract expressionism is the art of gesture and movement associated primarily with male artists in the period immediately following World War II. Her 1964 oil painting, Skyscraper, in the National Museum of American Art demonstrates her transition from still lifes of vases of flowers to large-scale (48 inches by 38 1/4 inches [122 cm x 97 cm]) abstractions taken from the landscape of her native New York City.

Doris Barsky was born on August 12, 1901, in Passaic, New Jersey to Jacob Barsky, a furniture maker, and Rebecca (Levitch) Barsky, a homemaker. The Barskys, Jewish immigrants from Russia, arrived in the United States in 1893. Doris had one older sister, Pauline, and two younger sisters, Mildred and Bernice.

She was educated at the New York School of Applied Design for Women, the National Academy of Design, and the Art Students League in New York City. She also studied with Hans Hofmann.

Doris Barsky married Harry E. Kreindler on February 12, 1920, in Brooklyn. Harry Kreindler was an attorney who founded the firm of Kreindler and Kreindler, originally of Brooklyn and later of New York City. The Kreindlers had two children: Lee Stanley (b. 1924), who is a lawyer with Kreindler and Kreindler, and Rosamond Kreindler Koffman born (b. 1928), who is a retired teacher of language arts.

Her first solo exhibition was held at the Brooklyn Museum in 1935. For a period of about fourteen years, none of her works were exhibited in the New York City area and she took the time to travel widely. These travels became the basis for her later exhibitions, which featured abstract landscapes that were inspired by specific locations but contained the universal essence of many outdoor experiences. Her strong, rapid, brightly colored brushstrokes animated the regions that she depicted. Reviews in journals of the time praised her work for its vigor and liveliness—praise usually reserved for male abstract expressionists. She achieved this effect through the thick application of color in diagonal strokes on her atmospheric canvases.

In addition to oils, Kreindler worked in watercolor, lithography, woodblock, engraving, etching, and casein (a sticky, thick paint made from the whey derived from skim milk mixed with color).

She belonged to the American Society of Contemporary Artists, National Association of Women Artists, Artist’s Equity, National Association of Painters in Casein, Society of American Graphics, Alabama Water-Color Society, and The New York Society of Women Artists. Her work is in many national and regional museums, including the Rose Art Museum of Brandeis University, Metropolitan Museum of Art, Museum of Modern Art, Fogg Museum of Art, Brooklyn Museum of Art, Philadelphia Museum of Art, the Art Institute of Chicago, and the Tel Aviv Museum of Art.

Doris Barsky Kreindler died in May 1974 in Florida while on vacation.


Collins, J.L. Women Artists in America: Eighteenth Century to the Present (1973); “Exhibition at Esther Robles Gallery, Los Angeles.” Art News 56 (January 1958): 51; “Exhibition at Pulitzer.” Art News 58 (March 1959): 57; “Exhibition at Seligmann Gallery.” Art News 68 (January 1970): 62; “Exhibition at Seligmann’s.” Art News 50 (January 1952): 46; “Exhibition of Abstract Landscapes at Seligmann.” Art Digest 29 (February 15, 1954): 26; “Exhibition of Paintings: Seligmann Gallery.” Art Digest 26 (January 15, 1951): 20+; Gilbert, Dorothy B., ed. Who’s Who in American Art (1973); Havlice, Patricia Pate. Index to Artistic Biography. Vol. 2 (1973); McNeil, Barbara, ed. Artists Biographies: Master Index (1986); National Museum of American Art. Descriptive Catalogue of Painting and Sculpture in the National Museum of American Art (1983); Obituary. NYTimes, May 4, 1974, 44:5; “Seligmann Gallery, New York: Exhibition.” Art News 72 (February 1973): 83; “Show at Seligmann Gallery.” Art News 65 (February 1967): 16; “Show of Paintings and Drawings at Seligmann.” Art News 52 (February 1954): 47; “Showing at Pulitzer.” Arts 33 (April 1959): 48; WWIAJ (1938).

More on Doris Barsky Kreindler


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I am grateful that I can appreciate the works of my great-grandmother. Every time I see her paintings I not only see a glimpse of her personality as a person, but her personality as an artist. Her work bewilders me in not only its emotional expression, but technique as well...

In reply to by Victoria Kreindler

Victoria, I've been the owner of one of your great grandmother's paintings for the past 10 years. It was actually given to me by someone moving out of the building where I was living in Brooklyn, and I've had it with me ever since. The title is "Reflections", no date, and appears to have been sold by Jaques Seligmann Galleries. Judging from the label, I'm guessing it was sold sometime during the 60's or early 70's. Anyway, I'd love to find out more about it. Just curious if you can guide me in a direction as I haven't been able to find much online. Thank you! Justin Brown

In reply to by Justin Brown

JWA has forwarded your message to Ms. Kreindler. We hope that she will respond to you directly.

Doris Barsky Kreindler's painting: "Night Harbor Scene"
Courtesy of Harvard Art Museums

How to cite this page

Greenstein, Jill Wexler. "Doris Barsky Kreindler." Jewish Women: A Comprehensive Historical Encyclopedia. 27 February 2009. Jewish Women's Archive. (Viewed on December 15, 2019) <https://jwa.org/encyclopedia/article/kreindler-doris-barsky>.


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