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Jackson Pollockã¢ââ¢s Autumn Rhythm Number 30 Art Style Quizlet

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American painter

Jackson Pollock
Jackson Pollock.jpg

Studio portrait at most historic period 16
Built-in

Paul Jackson Pollock


(1912-01-28)January 28, 1912

Cody, Wyoming, U.South.
Died Baronial 11, 1956(1956-08-11) (aged 44)

Springs, New York, U.S.
Didactics Fine art Students League of New York
Known for Painting

Notable piece of work
  • Number 17A (1948)
  • No. 5, 1948 (1948)
  • Landscape on Indian Ruby Footing (1950)
  • Autumn Rhythm (1950)
  • Convergence (1952)
  • Bluish Poles (Number 11, 1952) (1952)
  • The Deep (1953)
Movement Abstract expressionism
Spouse(south)

Lee Krasner

​

(m. 1945)​
Patron(southward) Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August xi, 1956) was an American painter and a major figure in the abstruse expressionist movement. He was widely noticed for his "drip technique" of pouring or splashing liquid household pigment onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was too chosen all-over painting and action painting, since he covered the unabridged canvass and used the force of his whole trunk to pigment, often in a frenetic dancing style. This extreme class of abstraction divided the critics: some praised the immediacy of the creation, while others derided the random effects. In 2016, Pollock's painting titled Number 17A was reported to have fetched US$200 million in a private purchase.

A reclusive and volatile personality, Pollock struggled with alcoholism for most of his life. In 1945, he married the creative person Lee Krasner, who became an important influence on his career and on his legacy. Pollock died at the age of 44 in an booze-related single-car accident when he was driving. In Dec 1956, four months later his decease, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his piece of work was held there in 1967. In 1998 and 1999, his piece of work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[ane] [two]

Early life (1912–1936) [edit]

Paul Jackson Pollock was born in Cody, Wyoming, in 1912,[3] the youngest of five brothers. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa, and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold Canton, Iowa. His father had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died inside a twelvemonth of each other. Stella and LeRoy Pollock were Presbyterian; they were of Irish and Scots-Irish gaelic descent, respectively.[4] LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs.[three] Stella, proud of her family'south heritage as weavers, made and sold dresses as a teenager.[five] In November 1912, Stella took her sons to San Diego; Jackson was but x months old and would never render to Cody.[5] He subsequently grew upwards in Arizona and Chico, California.

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Manual Arts High School,[6] from which he was expelled. He had already been expelled in 1928 from some other high schoolhouse. During his early on life, Pollock explored Native American culture while on surveying trips with his father.[3] [seven] He was also heavily influenced by Mexican muralists, specially José Clemente Orozco,[8] [9] whose fresco Prometheus he would later phone call "the greatest painting in North America".[10]

In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied nether Thomas Hart Benton at the Art Students League. Benton'due south rural American subject affair had trivial influence on Pollock's piece of work, but his rhythmic use of paint and his fierce independence were more lasting.[3] In the early 1930s, Pollock spent a summer touring the Western U.s. together with Glen Rounds, a boyfriend art student, and Benton, their instructor.[xi] [12]

Career (1936–1954) [edit]

Pollock was introduced to the apply of liquid paint in 1936 at an experimental workshop in New York City past the Mexican muralist David Alfaro Siqueiros. He later used paint pouring every bit i of several techniques on canvases of the early 1940s, such equally Male person and Female person and Composition with Pouring I. After his move to Springs, New York, he began painting with his canvases laid out on the studio flooring and he developed what was later called his "baste" technique.

From 1938 to 1942 Pollock worked for the WPA Federal Art Projection.[13] During this fourth dimension Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph Fifty. Henderson and after with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings.[14] [15] Some historians[ who? ] have hypothesized that Pollock might accept had bipolar disorder.[16] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the viii-by-20-foot (2.4 by vi.i m) Mural (1943)[17] for the entry to her new townhouse. At the proposition of her friend and advisor Marcel Duchamp, Pollock painted the work on canvas, rather than the wall, so that it would be portable. After seeing the big mural, the art critic Cloudless Greenberg wrote: "I took one look at it and I thought, 'At present that's great art,' and I knew Jackson was the greatest painter this country had produced."[18] The catalog introducing his first exhibition described Pollock'southward talent every bit "volcanic. It has burn down. Information technology is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, non nonetheless crystallized."[19]

Drip period [edit]

Pollock's almost famous paintings were fabricated during the "drip period" between 1947 and 1950. He became famous following an August 8, 1949, four-page spread in Life magazine that asked, "Is he the greatest living painter in the Us?" Thanks to the mediation of Alfonso Ossorio, a close friend of Pollock, and the art historian Michel Tapié, the young gallery owner Paul Facchetti, from March seven, 1952, managed to realize the commencement exhibition of Pollock'due south works from 1948 to 1951[xx] in his Studio Paul Facchetti in Paris and in Europe.[21] At the summit of his fame, Pollock abruptly abased the baste fashion.[22] Pollock's drip paintings were influenced by the creative person Janet Sobel; the art critic Clement Greenberg would later on report that Pollock "admitted" to him that Sobel'south piece of work "had made an impression on him."[23]

Pollock's work after 1951 was darker in color, including a collection painted in blackness on unprimed canvases. These paintings have been referred to as his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold one to a friend at one-half the price. These works show Pollock attempting to find a residue betwixt brainchild and depictions of the figure.[24]

He after returned to using colour and continued with figurative elements.[25] During this flow, Pollock had moved to the Sidney Janis Gallery, a more commercial gallery; the demand for his work from collectors was corking. In response to this pressure level, along with personal frustration, his alcoholism deepened.[26]

Human relationship with Lee Krasner [edit]

The ii artists met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar withal intrigued with Pollock'southward work and went to his apartment, unannounced, to run across him following the gallery exhibition.[27] In October 1945, Pollock and Lee Krasner were married in a church with two witnesses present for the event.[28] In November, they moved out of the metropolis to the Springs area of East Hampton on the s shore of Long Isle. With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame house and barn at 830 Springs Fireplace Road. Pollock converted the barn into a studio. In that infinite, he perfected his big "baste" technique of working with paint, with which he would become permanently identified. When the couple found themselves free from work they enjoyed spending their time together cooking and baking, working on the house and garden, and entertaining friends.[29]

Krasner's influence on her husband's art was something critics began to reassess by the latter half of the 1960s due to the rise of feminism at the time.[30] Krasner's extensive cognition and training in modernistic art and techniques helped her bring Pollock up to date with what contemporary art should be. Krasner is often considered to have tutored her husband in the tenets of modern painting.[31] [32] Pollock was then able to change his style to fit a more than organized and cosmopolitan genre of modern art, and Krasner became the one judge he could trust.[31] [33] At the beginning of the ii artists' marriage, Pollock would trust his peers' opinions on what did or did not work in his pieces.[33] Krasner was also responsible for introducing him to many collectors, critics, and artists, including Herbert Matter, who would aid further his career as an emerging artist.[34] Art dealer John Bernard Myers once said "in that location would never have been a Jackson Pollock without a Lee Pollock", whereas fellow painter Fritz Bultman referred to Pollock as Krasner's "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock'south career.[35]

Jackson Pollock's influence on his wife's artwork is ofttimes discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her hubby's chaotic paint splatters in her own work.[36] In that location are several accounts where Krasner intended to apply her own intuition as a mode to move towards Pollock'south I am nature technique in society to reproduce nature in her art.[37]

Later years and death (1955–1956) [edit]

In 1955, Pollock painted Olfactory property and Search, his terminal two paintings.[38] He did not paint at all in 1956, but was making sculptures at Tony Smith's habitation: constructions of wire, gauze, and plaster.[25] Shaped by sand-casting, they have heavily textured surfaces similar to what Pollock frequently created in his paintings.[39]

Pollock and Krasner's relationship began to crumble by 1956, owing to Pollock'southward continuing alcoholism and infidelity involving another artist, Ruth Kligman.[40] On Baronial 11, 1956, at 10:xv p.one thousand., Pollock died in a unmarried-car crash in his Oldsmobile convertible while driving under the influence of alcohol. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.[40] I of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock'southward domicile. The other passenger, Ruth Kligman, survived.[41] In December 1956, four months after his decease, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more than comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-calibration retrospective exhibitions at MoMA and at The Tate in London.[1] [2]

For the residuum of her life, his widow Lee Krasner managed his estate and ensured that Pollock's reputation remained stiff despite changing art world trends. The couple are buried in Dark-green River Cemetery in Springs with a large boulder marking his grave and a smaller one marking hers.

Artistry [edit]

Influence and technique [edit]

The piece of work of Thomas Hart Benton, Pablo Picasso and Joan Miró influenced Pollock.[42] [43] [44] Pollock started using synthetic resin-based paints called alkyd enamels, which at that fourth dimension was a novel medium. Pollock described this use of household paints, instead of artist's paints, as "a natural growth out of a need".[45] He used hardened brushes, sticks, and fifty-fifty basting syringes every bit paint applicators. Pollock's technique of pouring and dripping pigment is thought to exist one of the origins of the term action painting. With this technique, Pollock was able to achieve his own signature style palimpsest paintings, with paints flowing from his chosen tool onto the canvas. Past defying the convention of painting on an upright surface, he added a new dimension by being able to view and apply paint to his canvases from all directions.[46]

Ane definitive influence on Pollock was the work of the Ukrainian American artist Janet Sobel (1894–1968) (born Jennie Lechovsky).[47] Peggy Guggenheim included Sobel's work in her The Art of This Century Gallery in 1945.[48] Jackson Pollock and fine art critic Clement Greenberg saw Sobel's work in that location in 1946 and afterward Greenberg noted that Sobel was "a direct influence on Jackson Pollock'due south baste painting technique".[49] In his essay "American-Type Painting", Greenberg noted those works were the first of all-over painting he had seen, and said, "Pollock admitted that these pictures had fabricated an impression on him".[50]

While painting this way, Pollock moved away from figurative representation, and challenged the Western tradition of using easel and brush. He used the force of his whole body to pigment, which was expressed on the large canvases. In 1956, Time mag dubbed Pollock "Jack the Dripper" due to his painting style.[51]

My painting does not come from the easel. I prefer to tack the unstretched canvass to the hard wall or the flooring. I need the resistance of a difficult surface. On the floor I am more at ease. I feel nearer, more office of the painting, since this mode I can walk effectually information technology, work from the four sides and literally be in the painting.

I continue to become farther away from the usual painter's tools such as easel, palette, brushes, etc. I adopt sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other strange matter added.

When I am in my painting, I'one thousand not aware of what I'thou doing. Information technology is only after a sort of "get acquainted" period that I see what I have been nearly. I have no fear of making changes, destroying the image, etc., considering the painting has a life of its ain. I try to let it come up through. Information technology is just when I lose contact with the painting that the result is a mess. Otherwise in that location is pure harmony, an easy give and accept, and the painting comes out well.

—Jackson Pollock, My Painting, 1956[52]

Pollock observed Native American sandpainting demonstrations in the 1940s. Referring to his fashion of painting on the floor, Pollock stated, "I feel nearer, more a office of the painting, since this style I can walk circular it, piece of work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the W."[53] Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he usually had an thought of how he wanted a item piece of work to appear. His technique combined the motion of his body, over which he had command, the viscous flow of paint, the force of gravity, and the assimilation of paint into the canvass. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would movement energetically around the sheet, almost as if in a trip the light fantastic toe, and would not terminate until he saw what he wanted to see.

Austrian creative person Wolfgang Paalen'due south article on totem art of the indigenous people of British Columbia, in which the concept of space in totemist art is considered from an creative person's point of view, influenced Pollock likewise; Pollock owned a signed and defended copy of the Amerindian Number of Paalen'southward mag (DYN iv–5, 1943). He had too seen Paalen'due south surrealist paintings in an exhibition in 1940.[54] Another strong influence must take been Paalen's surrealist fumage technique, which appealed to painters looking for new means to depict what was called the "unseen" or the "possible". The technique was once demonstrated in Matta's workshop, about which Steven Naifeh reports, "One time, when Matta was demonstrating the Surrealist technique [Paalen's] Fumage, Jackson [Pollock] turned to (Peter) Busa and said in a stage whisper: 'I tin do that without the smoke.'"[55] Pollock's painter friend Fritz Bultman even stated, "It was Wolfgang Paalen who started it all."[56]

In 1950, Hans Namuth, a young lensman, wanted to accept pictures—both stills and moving—of Pollock at work. Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished.

Photographer Hans Namuth extensively documented Pollock's unique painting techniques

Namuth said that when he entered the studio:

A dripping wet canvas covered the unabridged floor ... In that location was complete silence ... Pollock looked at the painting. Then, unexpectedly, he picked up can and paint castor and started to move around the canvas. Information technology was equally if he suddenly realized the painting was not finished. His movements, slow at showtime, gradually became faster and more than dance like every bit he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did non seem to hear the click of the camera shutter ... My photography session lasted as long every bit he kept painting, perhaps one-half an 60 minutes. In all that time, Pollock did non stop. How could one proceed up this level of activity? Finally, he said "This is it."

Pollock'south finest paintings ... reveal that his all-over line does non give rise to positive or negative areas: we are not fabricated to experience that one part of the canvas demands to be read as figure, whether abstruse or representational, against another role of the canvas read every bit footing. There is not inside or outside to Pollock'south line or the space through which it moves. ... Pollock has managed to free line non only from its function of representing objects in the globe, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvass.

—Karmel, 132

From naming to numbering [edit]

Continuing to evade the viewer's search for figurative elements in his paintings, Pollock abandoned titles and started numbering his works. He said near this, "[50]ook passively and endeavor to receive what the painting has to offer and not bring a subject area matter or preconceived idea of what they are to be looking for." His wife said, "He used to give his pictures conventional titles ... only now he simply numbers them. Numbers are neutral. They brand people look at a picture show for what it is—pure painting."[45]

Critical fence [edit]

Pollock'southward piece of work has been the subject of important critical debates. Critic Robert Coates once derided a number of Pollock'southward works as "mere unorganized explosions of random energy, and therefore meaningless".[57] Reynold'south News, in a 1959 headline, said, "This is not art—it'due south a joke in bad taste."[58] French abstract painter Jean Hélion, on the other manus, remarked on first seeing a Pollock, "It filled out space going on and on because it did not have a offset or finish to it."[59] Clement Greenberg supported Pollock'south work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in grade and elimination of historical content. He considered Pollock's work to be the best painting of its mean solar day and the culmination of the Western tradition via Cubism and Cézanne to Manet.

In a 1952 article in ARTnews, Harold Rosenberg coined the term "action painting" and wrote that "what was to go on the canvas was not a moving picture merely an consequence. The large moment came when it was decided to paint 'only to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral." Many people[ who? ] assumed that he had modeled his "activeness painter" paradigm on Pollock.[60]

The Congress for Cultural Freedom, an organisation to promote American culture and values, backed past the Fundamental Intelligence Agency (CIA), sponsored exhibitions of Pollock'southward work. Some left-wing scholars, including Eva Cockcroft, have argued that the United States government and wealthy elite embraced Pollock and abstract expressionism to place the United States in the forefront of global art and devalue socialist realism.[58] [61] Cockcroft wrote that Pollock became a "weapon of the Cold War".[62]

Pollock described his art as "motion fabricated visible memories, arrested in space".[63]

Legacy [edit]

Influence [edit]

Pollock'due south staining into raw canvas was adjusted by the Color Field painters Helen Frankenthaler and Morris Louis. Frank Stella fabricated "all-over limerick" a hallmark of his works of the 1960s. The Happenings artist Allan Kaprow, sculptors Richard Serra and Eva Hesse, and many contemporary artists take retained Pollock's accent on the process of creation; they were influenced by his approach to the process, rather than the look of his work.[64]

In 2004, One: Number 31, 1950 was ranked the eighth-almost influential piece of modern art in a poll of 500 artists, curators, critics, and dealers.[65]

In pop culture and media [edit]

In 1960, Ornette Coleman's album Free Jazz: A Collective Improvisation featured a Pollock painting, The White Light, as its cover artwork.

In the early on 1990s, three groups of movie makers were developing Pollock biographical projects, each based on a different source. The projection that at outset seemed well-nigh avant-garde was a joint venture between Barbra Streisand'southward Barwood Films and Robert De Niro'south TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock). The script, by Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, To a Tearing Grave, a collection of reminiscences by Pollock's friends. Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock. A second was to be based on Beloved Affair (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his death. This was to be directed by Harold Becker, with Al Pacino playing Pollock.[66]

In 2000, the biographical pic Pollock, based on the Pulitzer Prize-winning biography, Jackson Pollock: An American Saga, directed by and starring Ed Harris, was released. Marcia Gay Harden won the Academy Award for Best Supporting Extra for her portrayal of Lee Krasner. The movie was the project of Harris, who was nominated for the Academy Award for Best Actor. Harris himself painted the works seen in the film.[67] The Pollock-Krasner Foundation did non authorize or collaborate with any production.[66]

In September 2009, the art historian Henry Adams claimed in Smithsonian magazine that Pollock had written his name in his famous painting Landscape (1943).[68] The painting is now insured for US$140 meg. In 2011, the Republican Iowa Country Representative Scott Raecker introduced a bill to strength the sale of the artwork, held by the University of Iowa, to fund scholarships, just his bill created such controversy that it was apace withdrawn.[17] [69]

Art market [edit]

In 1973, Number eleven, 1952 (also known as Blue Poles) was purchased by the Australian Whitlam government for the National Gallery of Commonwealth of australia for US$ii million (A$1.3 million at the time of payment). At the time, this was the highest price ever paid for a modern painting. The painting is now one of the most pop exhibits in the gallery.[seventy] It was a centerpiece of the Museum of Modern Art's 1998 retrospective in New York, the first time the painting had been shown in America since its purchase.

In November 2006, Pollock's No. 5, 1948 became the world'due south most expensive painting, when it was sold privately to an undisclosed buyer for the sum of Usa$140 one thousand thousand. Another creative person record was established in 2004, when No. 12 (1949), a medium-sized drip painting that had been shown in the United States Pavilion at the 1950 Venice Biennale, fetched US$eleven.vii one thousand thousand at Christie's, New York.[71] In 2012, Number 28, 1951, ane of the creative person's combinations of baste and brushwork in shades of silvery greyness with ruby-red, yellow, and shots of blueish and white, also sold at Christie's, New York, for US$20.v 1000000—US$23 million with fees—within its estimated range of U.s.a.$20 million to U.s.$thirty million.[72]

In 2013, Pollock's Number xix (1948) was sold by Christie'southward for a reported US$58,363,750 during an auction that ultimately reached Us$495 1000000 full sales in one night, which Christie'due south reports every bit a record to engagement as the almost expensive auction of contemporary fine art.[73]

In February 2016, Bloomberg News reported that Kenneth C. Griffin had purchased Jackson Pollock'southward 1948 painting Number 17A for US$200 million, from David Geffen.[74]

Authenticity issues [edit]

The Pollock-Krasner Authentication Board was created past the Pollock-Krasner Foundation in 1990 to evaluate newly found works for an upcoming supplement to the 1978 catalogue.[75] In the past, however, the Pollock-Krasner Foundation has declined to be involved in authentication cases.[76]

In 2006, a documentary, Who the *$&% Is Jackson Pollock? was made concerning Teri Horton, a truck driver who bought an abstract painting for 5 dollars at a thrift store in California in 1992. This work may be a lost Pollock painting, but its authenticity is debated.

Untitled 1950, which the New York-based Knoedler Gallery had sold in 2007 for $17 meg to Pierre Lagrange, a London hedge-fund multimillionaire, was subject to an actuality conform before the The states District Court for the Southern District of New York. Washed in the painter's archetype drip-and-splash style and signed "J. Pollock", the modest-sized painting (xv by 28 1/2 in) was institute to incorporate yellow pigment pigments not commercially available until about 1970.[77] The accommodate was settled in a confidential agreement in 2012.[78]

Fractal estimator analysis [edit]

In 1999, physicist and creative person Richard Taylor used computer analysis to evidence similarities betwixt Pollock'southward painted patterns and fractals (patterns that recur on multiple size scales) found in natural scenery,[79] reflecting Pollock's own words: "I am nature".[80] His research team labelled Pollock's mode fractal expressionism.[81]

In 2003, 24 Pollockesque paintings and drawings were found in a locker in Wainscott, New York. In 2005, The Pollock-Krasner Foundation requested a fractal analysis to be used for the first time in an actuality dispute.[82] [83] [84] [85] [86] Researchers at the University of Oregon used the technique to place differences betwixt the patterns in the vi disputed paintings analyzed and those in 14 established Pollocks.[82] Pigment analysis of the paintings past researchers at Harvard University showed the presence in one painting of a constructed pigment that was not patented until the 1980s, and materials in two others that were not available in Pollock'south lifetime.[87] [88]

In 2007, a traveling museum exhibition of the paintings was mounted and was accompanied by a comprehensive book, Pollock Matters, written by Ellen Chiliad. Landau, one of the 4 sitting scholars from the former Pollock Krasner Foundation authentication panel from the 1990s, and Claude Cernuschi, a scholar in Abstract Expressionism. In the book, Landau demonstrates the many connections between the family who owns the paintings and Jackson Pollock during his lifetime to identify the paintings in what she believes to be their proper historic context. Landau too presents the forensic findings of Harvard Academy and presents possible explanations for the forensic inconsistencies that were institute in three of the 24 paintings.[89] [90] Nonetheless, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this pigment as beingness "unlikely to the betoken of fantasy".[ commendation needed ]

Subsequently, over 10 scientific groups have performed fractal analysis on over l of Pollock's works.[91] [92] [93] [94] [95] [96] [97] [98] [99] [100] A 2015 report that used fractal analysis every bit one of its techniques achieved a 93% success charge per unit distinguishing real from simulated Pollocks.[101] Current research of Fractal Expressionism focuses on man response to viewing fractals. Cognitive neuroscientists accept shown that Pollock's fractals induce the same stress-reduction in observers as computer-generated fractals and naturally-occurring fractals.[102] [103]

Archives [edit]

Lee Krasner donated Pollock's papers to the Archives of American Art in 1983. They were later archived with her own papers. The Athenaeum of American Art also houses the Charles Pollock papers, which include correspondence, photographs, and other files relating to his brother Jackson.

A carve up arrangement, the Pollock-Krasner Foundation, was established in 1985. The foundation functions as the official estate for both Pollock and his widow, merely too nether the terms of Krasner'due south will, serves "to aid individual working artists of merit with financial need".[104] The U.South. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society.[105]

The Pollock-Krasner House and Studio is owned and administered by the Stony Brook Foundation, a nonprofit affiliate of Stony Brook Academy. Regular tours of the firm and studio occur from May through Oct.

List of major works [edit]

Pollock's studio-flooring in Springs, New York, the visual issue of being his main painting surface from 1946 until 1953

  • (1942) Male and Female Philadelphia Museum of Art[106]
  • (1942) Stenographic Figure Museum of Modernistic Fine art[107]
  • (1942) The Moon Woman Peggy Guggenheim Collection[108]
  • (1943) Mural University of Iowa Museum of Art,[109] given by Peggy Guggenheim[110]
  • (1943) The She-Wolf Museum of Modernistic Art[111]
  • (1943) Blue (Moby Dick) Ohara Museum of Art[112]
  • (1945) Night Mist Norton Museum of Fine art[113]
  • (1945) Troubled Queen Museum of Fine Arts, Boston[114]
  • (1946) Eyes in the Rut Peggy Guggenheim Drove, Venice[115]
  • (1946) The Key Art Institute of Chicago[116]
  • (1946) The Tea Loving cup Drove Frieder Burda[117]
  • (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Fine art[118]
  • (1947) Portrait of H.G. Academy of Iowa Museum of Art, given past Peggy Guggenheim.[119]
  • (1947) Total Fathom 5 Museum of Modern Art[120]
  • (1947) Cathedral Dallas Museum of Art[121]
  • (1947) Enchanted Forest Peggy Guggenheim Collection[122]
  • (1947) Lucifer The Anderson Collection at Stanford University[123]
  • (1947) Sea Change Seattle Art Museum, given by Peggy Guggenheim[124]
  • (1948) Painting [125]
  • (1948) Number 5 (4 ft ten 8 ft) Private collection
  • (1948) Number viii Neuburger Museum at the Country University of New York at Buy
  • (1948) Number 13A: Arabesque Yale Academy Art Gallery, New Haven, Connecticut
  • (1948) Composition (White, Black, Blue and Red on White) New Orleans Museum of Art[126]
  • (1948) Summer: Number 9A Tate Modern
  • (1948) "Number 19"[127]
  • (1949) Number 1 Museum of Gimmicky Art, Los Angeles[128]
  • (1949) Number 3 Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • (1949) Number 10 Museum of Fine Arts, Boston[129]
  • (1949) Number 11 Indiana University Art Museum Bloomington, Indiana[130]
  • (1950) Number 1, 1950 (Lavander Mist) National Gallery of Fine art[131]
  • (1950) Mural on Indian red ground, 1950 Tehran Museum of Contemporary Art[132]
  • (1950) Autumn Rhythm (Number 30), 1950 Metropolitan Museum of Fine art[133]
  • (1950) Number 29, 1950 National Gallery of Canada[134]
  • (1950) Number 32, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, BRD[135]
  • (1950) One: Number 31, 1950 Museum of Modern Art[136] [137]
  • (1951) Number 7 National Gallery of Art[138]
  • (1951) Blackness and White (Number 6) San Francisco Museum of Modern Art
  • (1952) Convergence Albright-Knox Fine art Gallery[139]
  • (1952) Bluish Poles: No. xi, 1952 National Gallery of Commonwealth of australia[140]
  • (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire State Plaza Art Collection[141]
  • (1953) Portrait and a Dream Dallas Museum of Art[142]
  • (1953) Easter and the Totem The Museum of Modern Art[143]
  • (1953) Body of water Greyness Solomon R. Guggenheim Museum[144]
  • (1953) The Deep Centre Georges Pompidou[145] [146]

References [edit]

  1. ^ a b Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition itemize. New York: The Museum of Modernistic Art. pp. 315–329. ISBN978-0-87070-069-ix.
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Further reading [edit]

  • Herskovic, Marika (2009). American Abstract and Figurative Expressionism Mode Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York School Press. pp. 127, 196–9. ISBN978-0-9677994-ii-1. OCLC 298188260.
  • Herskovic, Marika (2003). American Abstract Expressionism of the 1950s An Illustrated Survey. New York Schoolhouse Printing. pp. 262–5. ISBN978-0-9677994-1-4. OCLC 50253062.
  • Herskovic, Marika (2000). New York Schoolhouse Abstract Expressionists Artists Selection by Artists. New York School Press. pp. 18, 38, 278–81. ISBN978-0-9677994-0-seven. OCLC 50666793.
  • Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Key Interviews, Articles and Reviews. Museum of Modern Art. ISBN978-0-87070-037-8.
  • Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog. New York: The Museum of Modern Art. ISBN978-0-87070-069-9.
  • O'Connor, Francis V. (1967). Jackson Pollock [exhibition catalogue]. New York: Museum of Modern Art. OCLC 165852.
  • Taylor, Richard; Micolich, Adam; Jonas, David (October 1999). "Fractal Expressionism". Physics World. 12 (10): 25–28. doi:ten.1088/2058-7058/12/x/21. Archived from the original on August 5, 2012. Retrieved September 18, 2015.
  • Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson Due north. Potter. ISBN978-0-517-56084-half dozen.
  • Smith, Roberta (February 15, 2002). "Art in Review". The New York Times.
  • mcah.columbia.edu

External links [edit]

  • Exhibition-'Memories Arrested' 2012
  • Pollock-Krasner House and Study Center
  • Pollock-Krasner Foundation
  • Pollock and The Law
  • National Gallery of Art web feature, includes highlights of Pollock's career, numerous examples of his work, photographs and movement footage of Pollock, plus an in-depth discussion of his 1950 painting Lavander Mist
  • Bluish Poles at the NGA
  • Fractal Expressionism – the fractal qualities of Pollock'due south drip paintings.
  • Jackson Pollock Papers at the Smithsonian's Archives of American Art
  • "Jackson Pollock, John Cage and William Burroughs", talk at MOMA
  • pictures of Pollock, slideshow Life Magazine
  • Works by Jackson Pollock (public domain in Canada)

Museum links

  • Jackson Pollock at the Museum of Modern Art
  • The Solomon R. Guggenheim Foundation
  • Los Angeles County Museum of Art (LACMA), Los Angeles, California
  • Museum of Contemporary Art (MOCA), Los Angeles, California
  • Jackson Pollock at the Israel Museum, Jerusalem

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Source: https://en.wikipedia.org/wiki/Jackson_Pollock

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