A 1969 abstract composition by Lee Krasner, featuring rhythmic, calligraphic marks in a palette of ochre, cream, and yellow.

Hieroglyphs No. 12, painted in 1969, belongs to a period in Lee Krasner's career where she explored rhythmic, calligraphic mark-making. The composition is defined by a dense, all-over application of paint, where individual gestures coalesce into a unified field. Krasner employs a restricted palette of ochre, cream, and bright yellow, which creates a sense of light and movement across the surface of the canvas.

The title refers to the artist's interest in semiotic forms, where shapes resemble ancient scripts or symbols. These marks do not function as literal language, but rather as a visual vocabulary of personal expression. The paint application varies in thickness, with some areas appearing translucent and others opaque, providing a tactile quality to the work. By avoiding a central subject, Krasner encourages the viewer to scan the entire surface, noting the subtle variations in tone and the repetition of curved and angular forms.

Krasner was a significant figure in the New York School, though her work often received less attention than that of her contemporaries during her lifetime. Her practice was characterised by a rigorous approach to composition and a willingness to destroy or rework canvases that did not meet her standards. This painting reflects her mature style, where the balance between spontaneity and control is carefully managed. The work demonstrates her ability to create complex visual structures through a limited set of formal elements, resulting in a piece that maintains a sense of equilibrium despite the energetic nature of the brushwork.