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American painter

Jackson Pollock
Jackson Pollock.jpg

Studio portrait at most age sixteen
Built-in

Paul Jackson Pollock


(1912-01-28)January 28, 1912

Cody, Wyoming, U.S.
Died August 11, 1956(1956-08-xi) (aged 44)

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

Notable work
  • Number 17A (1948)
  • No. 5, 1948 (1948)
  • Mural on Indian Ruby-red Basis (1950)
  • Autumn Rhythm (1950)
  • Convergence (1952)
  • Bluish Poles (Number xi, 1952) (1952)
  • The Deep (1953)
Movement Abstract expressionism
Spouse(s)

Lee Krasner

​

(g. 1945)​
Patron(due south) Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August 11, 1956) was an American painter and a major effigy in the abstract expressionist movement. He was widely noticed for his "drip technique" of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was also called all-over painting and activeness painting, since he covered the entire canvas and used the forcefulness of his whole body to pigment, often in a corybantic dancing mode. This extreme form of brainchild divided the critics: some praised the immediacy of the creation, while others derided the random effects. In 2016, Pollock'due south painting titled Number 17A was reported to take 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 of import influence on his career and on his legacy. Pollock died at the age of 44 in an booze-related single-auto accident when he was driving. In December 1956, four months subsequently his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York Urban center. 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 big-scale retrospective exhibitions at MoMA and at The Tate in London.[1] [2]

Early on life (1912–1936) [edit]

Paul Jackson Pollock was born in Cody, Wyoming, in 1912,[3] the youngest of 5 brothers. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew upwardly in Tingley, Iowa, and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa. His male parent had been born with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him afterward his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian; they were of Irish and Scots-Irish descent, respectively.[4] LeRoy Pollock was a farmer and later a country surveyor for the authorities, moving for dissimilar jobs.[three] Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager.[5] In November 1912, Stella took her sons to San Diego; Jackson was just 10 months old and would never render to Cody.[v] He subsequently grew up in Arizona and Chico, California.

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Transmission Arts High School,[6] from which he was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American civilization while on surveying trips with his father.[3] [seven] He was also heavily influenced past Mexican muralists, particularly José Clemente Orozco,[8] [9] whose fresco Prometheus he would afterwards call "the greatest painting in Due north America".[10]

In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton'south rural American subject area matter had little influence on Pollock's work, but his rhythmic use of paint and his violent independence were more lasting.[3] In the early on 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow art educatee, and Benton, their teacher.[11] [12]

Career (1936–1954) [edit]

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

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.[xiii] During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph L. Henderson and later 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.[xiv] [fifteen] Some historians[ who? ] have hypothesized that Pollock might take had bipolar disorder.[16] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the eight-by-20-pes (ii.four by vi.1 one thousand) Mural (1943)[17] for the entry to her new townhouse. At the suggestion of her friend and advisor Marcel Duchamp, Pollock painted the work on canvas, rather than the wall, and then that information technology would be portable. Afterwards seeing the big mural, the art critic Clement Greenberg wrote: "I took one look at information technology and I idea, 'Now that'southward nifty art,' and I knew Jackson was the greatest painter this state had produced."[eighteen] The catalog introducing his first exhibition described Pollock'due south talent as "volcanic. Information technology has fire. Information technology is unpredictable. Information technology is undisciplined. It spills out of itself in a mineral prodigality, non yet crystallized."[19]

Drip period [edit]

Pollock'southward most famous paintings were fabricated during the "drip period" betwixt 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 United States?" Thanks to the mediation of Alfonso Ossorio, a shut friend of Pollock, and the art historian Michel Tapié, the young gallery owner Paul Facchetti, from March 7, 1952, managed to realize the first exhibition of Pollock'south works from 1948 to 1951[20] in his Studio Paul Facchetti in Paris and in Europe.[21] At the top of his fame, Pollock abruptly abandoned the drip style.[22] Pollock's drip paintings were influenced past the creative person Janet Sobel; the art critic Cloudless Greenberg would subsequently study that Pollock "admitted" to him that Sobel's piece of work "had made an impression on him."[23]

Pollock's work afterward 1951 was darker in color, including a drove painted in black on unprimed canvases. These paintings accept 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 ane to a friend at half the price. These works show Pollock attempting to notice a rest betwixt abstraction and depictions of the figure.[24]

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

Relationship with Lee Krasner [edit]

The two artists met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar nonetheless intrigued with Pollock'due south work and went to his apartment, unannounced, to meet 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 city to the Springs area of Due east Hampton on the south shore of Long Island. With the aid 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 space, he perfected his large "baste" technique of working with paint, with which he would become permanently identified. When the couple institute themselves free from work they enjoyed spending their time together cooking and blistering, working on the house and garden, and entertaining friends.[29]

Krasner'south influence on her married man'south fine 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 all-encompassing knowledge and preparation in modern art and techniques helped her bring Pollock up to date with what contemporary fine art should be. Krasner is often considered to have tutored her married man in the tenets of modernistic painting.[31] [32] Pollock was then able to alter his mode to fit a more organized and cosmopolitan genre of modern fine art, and Krasner became the i guess he could trust.[31] [33] At the first of the 2 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 help further his career as an emerging artist.[34] Art dealer John Bernard Myers once said "there would never accept been a Jackson Pollock without a Lee Pollock", whereas young man painter Fritz Bultman referred to Pollock as Krasner'southward "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock's career.[35]

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

Subsequently years and expiry (1955–1956) [edit]

In 1955, Pollock painted Scent and Search, his last 2 paintings.[38] He did not paint at all in 1956, just was making sculptures at Tony Smith'due south domicile: constructions of wire, gauze, and plaster.[25] Shaped past sand-casting, they have heavily textured surfaces similar to what Pollock often created in his paintings.[39]

Pollock and Krasner's relationship began to crumble by 1956, owing to Pollock'due south continuing alcoholism and adultery involving another creative person, Ruth Kligman.[xl] On August 11, 1956, at ten:15 p.thousand., Pollock died in a unmarried-car crash in his Oldsmobile convertible while driving under the influence of booze. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.[40] 1 of the passengers, Edith Metzger, was too killed in the accident, which occurred less than a mile from Pollock'southward abode. The other passenger, Ruth Kligman, survived.[41] In December 1956, iv months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modernistic Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[i] [ii]

For the rest of her life, his widow Lee Krasner managed his manor and ensured that Pollock's reputation remained potent despite irresolute art earth trends. The couple are buried in Green River Cemetery in Springs with a large boulder mark his grave and a smaller one marking hers.

Artistry [edit]

Influence and technique [edit]

The 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'due south paints, as "a natural growth out of a demand".[45] He used hardened brushes, sticks, and even basting syringes every bit pigment applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting. With this technique, Pollock was able to attain his own signature style palimpsest paintings, with paints flowing from his chosen tool onto the sail. By defying the convention of painting on an upright surface, he added a new dimension by existence able to view and apply paint to his canvases from all directions.[46]

1 definitive influence on Pollock was the piece of work of the Ukrainian American creative person Janet Sobel (1894–1968) (born Jennie Lechovsky).[47] Peggy Guggenheim included Sobel'southward piece of work in her The Art of This Century Gallery in 1945.[48] Jackson Pollock and fine art critic Clement Greenberg saw Sobel's work at that place in 1946 and later Greenberg noted that Sobel was "a direct influence on Jackson Pollock's 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".[l]

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

My painting does not come up from the easel. I prefer to tack the unstretched sheet to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this manner I tin can walk around it, work from the four sides and literally be in the painting.

I continue to get further away from the usual painter'south tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid pigment or a heavy impasto with sand, broken drinking glass or other foreign affair added.

When I am in my painting, I'm not aware of what I'k doing. Information technology is only after a sort of "go acquainted" period that I run across what I take been about. I accept no fear of making changes, destroying the epitome, etc., because the painting has a life of its own. I try to let it come through. It is merely when I lose contact with the painting that the outcome is a mess. Otherwise in that location is pure harmony, an easy give and have, 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 experience nearer, more a part of the painting, since this way I can walk round it, work from the 4 sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the Westward."[53] Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he usually had an idea of how he wanted a detail work to appear. His technique combined the movement of his trunk, over which he had command, the viscous period of paint, the strength of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would motion energetically effectually the sail, nigh every bit if in a trip the light fantastic toe, and would not stop until he saw what he wanted to see.

Austrian artist Wolfgang Paalen's commodity on totem art of the indigenous people of British Columbia, in which the concept of space in totemist fine art is considered from an creative person's point of view, influenced Pollock besides; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen's mag (DYN 4–5, 1943). He had also seen Paalen's surrealist paintings in an exhibition in 1940.[54] Another strong influence must have been Paalen'south surrealist fumage technique, which appealed to painters looking for new ways to depict what was called the "unseen" or the "possible". The technique was once demonstrated in Matta'southward workshop, almost 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 can do that without the fume.'"[55] Pollock's painter friend Fritz Bultman even stated, "It was Wolfgang Paalen who started it all."[56]

In 1950, Hans Namuth, a immature photographer, wanted to accept pictures—both stills and moving—of Pollock at work. Pollock promised to start a new painting peculiarly for the photographic session, just 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 sheet covered the unabridged floor ... In that location was consummate silence ... Pollock looked at the painting. Then, unexpectedly, he picked up can and pigment brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at start, gradually became faster and more trip the light fantastic like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter ... My photography session lasted equally long equally he kept painting, perhaps half an hour. In all that time, Pollock did not end. How could one keep up this level of action? Finally, he said "This is it."

Pollock's finest paintings ... reveal that his all-over line does non give rise to positive or negative areas: we are not made to feel that one role of the sheet demands to exist read as figure, whether abstract or representational, against some other part of the sheet read as ground. There is not inside or outside to Pollock's line or the infinite through which it moves. ... Pollock has managed to free line non only from its role of representing objects in the globe, simply also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.

—Karmel, 132

From naming to numbering [edit]

Continuing to evade the viewer'southward search for figurative elements in his paintings, Pollock abandoned titles and started numbering his works. He said about this, "[50]ook passively and try to receive what the painting has to offer and non bring a subject field matter or preconceived thought 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 make people expect at a picture for what it is—pure painting."[45]

Disquisitional debate [edit]

Pollock's work has been the subject of of import critical debates. Critic Robert Coates once derided a number of Pollock's works equally "mere unorganized explosions of random energy, and therefore meaningless".[57] Reynold's News, in a 1959 headline, said, "This is non art—it's a joke in bad sense of taste."[58] French abstract painter Jean Hélion, on the other hand, remarked on first seeing a Pollock, "It filled out space going on and on because information technology did not have a start or end to information technology."[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 form and elimination of historical content. He considered Pollock's piece of work to exist the best painting of its day and the culmination of the Western tradition via Cubism and Cézanne to Manet.

In a 1952 commodity in ARTnews, Harold Rosenberg coined the term "action painting" and wrote that "what was to keep the canvas was not a pic but an effect. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, artful, moral." Many people[ who? ] causeless that he had modeled his "action painter" paradigm on Pollock.[threescore]

The Congress for Cultural Freedom, an organization to promote American civilisation and values, backed by the Central Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-wing scholars, including Eva Cockcroft, take argued that the U.s.a. government and wealthy aristocracy embraced Pollock and abstruse expressionism to place the U.s. 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 fine art equally "motion made visible memories, arrested in infinite".[63]

Legacy [edit]

Influence [edit]

Pollock's staining into raw canvas was adapted by the Color Field painters Helen Frankenthaler and Morris Louis. Frank Stella made "all-over limerick" a hallmark of his works of the 1960s. The Happenings creative person Allan Kaprow, sculptors Richard Serra and Eva Hesse, and many contemporary artists have retained Pollock's emphasis on the process of creation; they were influenced past his approach to the procedure, rather than the look of his piece of work.[64]

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

In popular culture and media [edit]

In 1960, Ornette Coleman'southward anthology Costless Jazz: A Commonage Improvisation featured a Pollock painting, The White Low-cal, as its cover artwork.

In the early 1990s, iii groups of movie makers were developing Pollock biographical projects, each based on a dissimilar source. The project that at get-go seemed most advanced was a joint venture betwixt Barbra Streisand'due south Barwood Films and Robert De Niro'south TriBeCa Productions (De Niro'southward parents were friends of Krasner and Pollock). The script, past Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, To a Vehement Grave, a collection of reminiscences by Pollock's friends. Streisand was to play the office of Lee Krasner, and De Niro was to portray Pollock. A second was to be based on Love Thing (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months earlier 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 University Accolade for Best Supporting Actress for her portrayal of Lee Krasner. The pic was the project of Harris, who was nominated for the University Honor for All-time Actor. Harris himself painted the works seen in the flick.[67] The Pollock-Krasner Foundation did not authorize or collaborate with any production.[66]

In September 2009, the art historian Henry Adams claimed in Smithsonian mag that Pollock had written his name in his famous painting Landscape (1943).[68] The painting is now insured for US$140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a beak to strength the auction of the artwork, held past the University of Iowa, to fund scholarships, but his pecker created such controversy that it was quickly withdrawn.[17] [69]

Art market [edit]

In 1973, Number 11, 1952 (also known as Blue Poles) was purchased past the Australian Whitlam regime for the National Gallery of Commonwealth of australia for US$2 million (A$1.iii million at the time of payment). At the time, this was the highest price e'er paid for a modern painting. The painting is now one of the most pop exhibits in the gallery.[lxx] Information technology 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 earth'southward most expensive painting, when it was sold privately to an undisclosed buyer for the sum of US$140 1000000. Another creative person record was established in 2004, when No. 12 (1949), a medium-sized baste painting that had been shown in the United states of america Pavilion at the 1950 Venice Biennale, fetched US$11.7 million at Christie'south, New York.[71] In 2012, Number 28, 1951, one of the artist's combinations of drip and brushwork in shades of silverish grayness with red, yellow, and shots of blue and white, too sold at Christie's, New York, for US$20.v 1000000—United states of america$23 million with fees—within its estimated range of United states$xx 1000000 to US$30 million.[72]

In 2013, Pollock'southward Number nineteen (1948) was sold by Christie'south for a reported U.s.$58,363,750 during an auction that ultimately reached US$495 million total sales in one night, which Christie'due south reports equally a record to appointment as the most expensive sale of gimmicky art.[73]

In February 2016, Bloomberg News reported that Kenneth C. Griffin had purchased Jackson Pollock's 1948 painting Number 17A for United states of america$200 one thousand thousand, from David Geffen.[74]

Authenticity issues [edit]

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

In 2006, a documentary, Who the *$&% Is Jackson Pollock? was made apropos Teri Horton, a truck driver who bought an abstract painting for five 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 discipline to an authenticity accommodate before the United States District Courtroom for the Southern District of New York. Done in the painter's classic baste-and-splash fashion and signed "J. Pollock", the modest-sized painting (xv by 28 1/two in) was found to contain xanthous paint pigments not commercially bachelor until near 1970.[77] The adjust was settled in a confidential agreement in 2012.[78]

Fractal computer analysis [edit]

In 1999, physicist and creative person Richard Taylor used figurer assay to bear witness similarities between Pollock's 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 enquiry team labelled Pollock's style 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 assay to be used for the first time in an authenticity dispute.[82] [83] [84] [85] [86] Researchers at the University of Oregon used the technique to identify differences betwixt the patterns in the vi disputed paintings analyzed and those in xiv established Pollocks.[82] Pigment analysis of the paintings by researchers at Harvard University showed the presence in 1 painting of a synthetic pigment that was non patented until the 1980s, and materials in two others that were not available in Pollock'due 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 past Ellen G. Landau, i of the four sitting scholars from the old Pollock Krasner Foundation authentication panel from the 1990s, and Claude Cernuschi, a scholar in Abstract Expressionism. In the volume, Landau demonstrates the many connections between the family who owns the paintings and Jackson Pollock during his lifetime to place the paintings in what she believes to be their proper celebrated context. Landau as well presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in three of the 24 paintings.[89] [90] However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this pigment every bit being "unlikely to the signal of fantasy".[ citation needed ]

Subsequently, over x scientific groups accept performed fractal analysis on over 50 of Pollock's works.[91] [92] [93] [94] [95] [96] [97] [98] [99] [100] A 2015 study that used fractal analysis as one of its techniques accomplished a 93% success rate distinguishing real from imitation Pollocks.[101] Electric current research of Fractal Expressionism focuses on human response to viewing fractals. Cognitive neuroscientists have shown that Pollock'south fractals induce the same stress-reduction in observers as figurer-generated fractals and naturally-occurring fractals.[102] [103]

Archives [edit]

Lee Krasner donated Pollock'due south papers to the Archives of American Art in 1983. They were later archived with her ain 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 organization, the Pollock-Krasner Foundation, was established in 1985. The foundation functions as the official estate for both Pollock and his widow, but also under the terms of Krasner's will, serves "to assist individual working artists of merit with financial need".[104] The U.Southward. 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 University. Regular tours of the business firm and studio occur from May through Oct.

Listing of major works [edit]

Pollock'southward studio-floor in Springs, New York, the visual result of being his primary painting surface from 1946 until 1953

  • (1942) Male and Female Philadelphia Museum of Art[106]
  • (1942) Stenographic Figure Museum of Modern Art[107]
  • (1942) The Moon Woman Peggy Guggenheim Collection[108]
  • (1943) Mural Academy of Iowa Museum of Art,[109] given by Peggy Guggenheim[110]
  • (1943) The She-Wolf Museum of Modern Art[111]
  • (1943) Blue (Moby Dick) Ohara Museum of Art[112]
  • (1945) Dark Mist Norton Museum of Art[113]
  • (1945) Troubled Queen Museum of Fine Arts, Boston[114]
  • (1946) Optics in the Heat Peggy Guggenheim Collection, Venice[115]
  • (1946) The Key Art Institute of Chicago[116]
  • (1946) The Tea Loving cup Collection Frieder Burda[117]
  • (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modernistic Art[118]
  • (1947) Portrait of H.M. University of Iowa Museum of Art, given past Peggy Guggenheim.[119]
  • (1947) Total Fathom Five Museum of Modern Art[120]
  • (1947) Cathedral Dallas Museum of Art[121]
  • (1947) Enchanted Forest Peggy Guggenheim Collection[122]
  • (1947) Lucifer The Anderson Drove at Stanford University[123]
  • (1947) Sea Change Seattle Fine art Museum, given by Peggy Guggenheim[124]
  • (1948) Painting [125]
  • (1948) Number 5 (4 ft x 8 ft) Private collection
  • (1948) Number eight Neuburger Museum at the State Academy of New York at Purchase
  • (1948) Number 13A: Arabesque Yale University Art Gallery, New Haven, Connecticut
  • (1948) Composition (White, Black, Blue and Red on White) New Orleans Museum of Art[126]
  • (1948) Summertime: Number 9A Tate Modern
  • (1948) "Number 19"[127]
  • (1949) Number 1 Museum of Contemporary Art, Los Angeles[128]
  • (1949) Number 3 Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • (1949) Number ten Museum of Fine Arts, Boston[129]
  • (1949) Number 11 Indiana Academy Fine art Museum Bloomington, Indiana[130]
  • (1950) Number 1, 1950 (Lavander Mist) National Gallery of Fine art[131]
  • (1950) Landscape on Indian red basis, 1950 Tehran Museum of Contemporary Fine art[132]
  • (1950) Autumn Rhythm (Number 30), 1950 Metropolitan Museum of 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 Fine art[138]
  • (1951) Blackness and White (Number 6) San Francisco Museum of Mod Art
  • (1952) Convergence Albright-Knox Art Gallery[139]
  • (1952) Blue Poles: No. eleven, 1952 National Gallery of Commonwealth of australia[140]
  • (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire Country Plaza Fine art Collection[141]
  • (1953) Portrait and a Dream Dallas Museum of Art[142]
  • (1953) Easter and the Totem The Museum of Mod Art[143]
  • (1953) Ocean 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 catalog. New York: The Museum of Modern Art. pp. 315–329. ISBN978-0-87070-069-9.
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Farther reading [edit]

  • Herskovic, Marika (2009). American Abstruse and Figurative Expressionism Style Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York School Press. pp. 127, 196–9. ISBN978-0-9677994-2-1. OCLC 298188260.
  • Herskovic, Marika (2003). American Abstract Expressionism of the 1950s An Illustrated Survey. New York School Press. pp. 262–5. ISBN978-0-9677994-1-4. OCLC 50253062.
  • Herskovic, Marika (2000). New York School Abstract Expressionists Artists Selection past Artists. New York School Press. pp. 18, 38, 278–81. ISBN978-0-9677994-0-vii. OCLC 50666793.
  • Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Key Interviews, Manufactures and Reviews. Museum of Modernistic Art. ISBN978-0-87070-037-8.
  • Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition itemize. New York: The Museum of Mod 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 (x): 25–28. doi:10.1088/2058-7058/12/10/21. Archived from the original on August 5, 2012. Retrieved September xviii, 2015.
  • Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-vi.
  • Smith, Roberta (February fifteen, 2002). "Art in Review". The New York Times.
  • mcah.columbia.edu

External links [edit]

  • Exhibition-'Memories Arrested' 2012
  • Pollock-Krasner Firm and Study Center
  • Pollock-Krasner Foundation
  • Pollock and The Police
  • National Gallery of Art web characteristic, includes highlights of Pollock's career, numerous examples of his work, photographs and move footage of Pollock, plus an in-depth give-and-take of his 1950 painting Lavander Mist
  • Blue Poles at the NGA
  • Fractal Expressionism – the fractal qualities of Pollock's drip paintings.
  • Jackson Pollock Papers at the Smithsonian'due south Archives of American Art
  • "Jackson Pollock, John Cage and William Burroughs", talk at MOMA
  • pictures of Pollock, slideshow Life Mag
  • 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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