Letter That Looks Like Its Dripping Ink Art Club

American painter

Jackson Pollock
Studio portrait at about age sixteen
Born	Paul Jackson Pollock (1912-01-28)January 28, 1912 Cody, Wyoming, U.S.
Died	August 11, 1956(1956-08-11) (aged 44) Springs, New York, U.Southward.
Pedagogy	Art Students League of New York
Known for	Painting
Notable work	Number 17A (1948) No. 5, 1948 (1948) Mural on Indian Red Ground (1950) Fall Rhythm (1950) Convergence (1952) Blue Poles (Number 11, 1952) (1952) The Deep (1953)
Movement	Abstract expressionism
Spouse(s)	Lee Krasner ​ (g. 1945)​
Patron(southward)	Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August 11, 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 paint onto a horizontal surface, enabling him to view and pigment his canvases from all angles. It was too chosen all-over painting and activeness painting, since he covered the unabridged canvas and used the force of his whole torso to pigment, oft in a frenetic dancing style. This extreme class of brainchild 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 historic period of 44 in an booze-related single-motorcar accident when he was driving. In December 1956, four months later his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Fine art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held at that place 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.^{[1] [ii]}

Early life (1912–1936) [edit]

Paul Jackson Pollock was built-in in Cody, Wyoming, in 1912,^[three] 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 Loftier Schoolhouse. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa. His father had been born with the surname McCoy, only took the surname of his adoptive parents, neighbors who adopted him after his ain 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 land surveyor for the government, moving for different jobs.^[3] Stella, proud of her family unit's heritage every bit weavers, made and sold dresses equally a teenager.^[5] In November 1912, Stella took her sons to San Diego; Jackson was just x months one-time and would never render to Cody.^[5] He subsequently grew up in Arizona and Chico, California.

While living in the Vermont Foursquare neighborhood of Los Angeles, he enrolled at Manual Arts Loftier Schoolhouse,^[vi] from which he was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American culture while on surveying trips with his father.^{[iii] [7]} He was besides heavily influenced by Mexican muralists, particularly José Clemente Orozco,^{[8] [9]} whose fresco Prometheus he would later on 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 under Thomas Hart Benton at the Fine art Students League. Benton'southward rural American subject field thing had little influence on Pollock'south work, but his rhythmic use of pigment and his violent independence were more than lasting.^[3] In the early on 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow fine art pupil, and Benton, their teacher.^{[xi] [12]}

Career (1936–1954) [edit]

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

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.^[thirteen] During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph 50. Henderson and subsequently with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his fine 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 have had bipolar disorder.^[sixteen] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the committee to create the 8-by-xx-human foot (two.4 past 6.1 grand) Mural (1943)^[17] for the entry to her new townhouse. At the proposition of her friend and counselor Marcel Duchamp, Pollock painted the piece of work on canvas, rather than the wall, so that it would be portable. Afterwards seeing the big mural, the art critic Clement Greenberg wrote: "I took one await at it and I thought, 'At present that'due south dandy art,' and I knew Jackson was the greatest painter this country had produced."^[18] The catalog introducing his first exhibition described Pollock's talent as "volcanic. It has fire. It is unpredictable. It is undisciplined. Information technology spills out of itself in a mineral prodigality, not withal crystallized."^[19]

Drip menses [edit]

Pollock's about famous paintings were fabricated during the "drip menstruum" between 1947 and 1950. He became famous post-obit an August 8, 1949, four-folio spread in Life mag that asked, "Is he the greatest living painter in the U.s.a.?" Thank you 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 seven, 1952, managed to realize the first exhibition of Pollock's works from 1948 to 1951^[xx] in his Studio Paul Facchetti in Paris and in Europe.^[21] At the peak of his fame, Pollock abruptly abandoned the drip style.^[22] Pollock's drip paintings were influenced by the creative person Janet Sobel; the fine art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's piece of work "had fabricated an impression on him."^[23]

Pollock's work afterwards 1951 was darker in colour, including a collection painted in black on unprimed canvases. These paintings have been referred to every bit his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons afterwards sold 1 to a friend at half the price. These works prove Pollock attempting to detect a balance between abstraction and depictions of the figure.^[24]

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

Relationship with Lee Krasner [edit]

The ii artists met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar however intrigued with Pollock'southward piece of work and went to his flat, unannounced, to meet him following the gallery exhibition.^[27] In October 1945, Pollock and Lee Krasner were married in a church with 2 witnesses nowadays for the event.^[28] In Nov, they moved out of the city to the Springs area of Due east Hampton on the due south shore of Long Island. 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 space, he perfected his big "drip" technique of working with paint, with which he would become permanently identified. When the couple constitute themselves complimentary from piece of 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 married man'south art was something critics began to reassess by the latter one-half of the 1960s due to the ascension of feminism at the time.^[30] Krasner'south extensive knowledge and preparation in modern fine 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 modernistic painting.^{[31] [32]} Pollock was and then able to modify his way to fit a more organized and cosmopolitan genre of mod art, and Krasner became the i judge he could trust.^{[31] [33]} At the outset of the two artists' marriage, Pollock would trust his peers' opinions on what did or did non work in his pieces.^[33] Krasner was also responsible for introducing him to many collectors, critics, and artists, including Herbert Thing, who would help farther his career equally an emerging artist.^[34] Art dealer John Bernard Myers one time said "there would never have been a Jackson Pollock without a Lee Pollock", whereas beau painter Fritz Bultman referred to Pollock as Krasner'due south "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 frequently discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her husband'southward chaotic paint splatters in her ain piece of work.^[36] There are several accounts where Krasner intended to use her own intuition every bit a manner to move towards Pollock's I am nature technique in order to reproduce nature in her art.^[37]

Afterwards years and decease (1955–1956) [edit]

In 1955, Pollock painted Scent and Search, his last two paintings.^[38] He did non paint at all in 1956, but was making sculptures at Tony Smith'southward home: constructions of wire, gauze, and plaster.^[25] Shaped by 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 infidelity involving another artist, Ruth Kligman.^[40] On August 11, 1956, at x:15 p.m., Pollock died in a unmarried-motorcar crash in his Oldsmobile convertible while driving nether the influence of alcohol. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.^[40] One of the passengers, Edith Metzger, was also killed in the blow, which occurred less than a mile from Pollock'south home. The other passenger, Ruth Kligman, survived.^[41] In December 1956, four months after his death, 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 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.^{[1] [2]}

For the balance of her life, his widow Lee Krasner managed his estate and ensured that Pollock's reputation remained strong despite changing art earth trends. The couple are cached in Green River Cemetery in Springs with a large boulder mark his grave and a smaller one mark 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 chosen alkyd enamels, which at that time was a novel medium. Pollock described this use of household paints, instead of artist's paints, equally "a natural growth out of a need".^[45] He used hardened brushes, sticks, and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to exist i of the origins of the term action painting. With this technique, Pollock was able to achieve his own signature way palimpsest paintings, with paints flowing from his chosen tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension past being able to view and utilise paint to his canvases from all directions.^[46]

One 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 art critic Clement Greenberg saw Sobel'south work there in 1946 and afterward Greenberg noted that Sobel was "a direct influence on Jackson Pollock'south drip painting technique".^[49] In his essay "American-Type Painting", Greenberg noted those works were the starting time of all-over painting he had seen, and said, "Pollock admitted that these pictures had made an impression on him".^[l]

While painting this style, 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 paint, which was expressed on the big canvases. In 1956, Time magazine 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 canvas to the hard wall or the floor. I demand the resistance of a difficult surface. On the floor I am more than at ease. I feel nearer, more role of the painting, since this way I tin can walk effectually information technology, work from the four sides and literally exist in the painting.

I continue to get further away from the usual painter's tools such every bit easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, cleaved glass or other foreign matter added.

When I am in my painting, I'chiliad not enlightened of what I'm doing. It is only after a sort of "get acquainted" period that I encounter what I have been near. I have no fear of making changes, destroying the paradigm, etc., because the painting has a life of its own. I try to let it come through. Information technology is but when I lose contact with the painting that the result is a mess. Otherwise at that place is pure harmony, an easy give and take, and the painting comes out well.

—Jackson Pollock, My Painting, 1956^[52]

Pollock observed Native American sandpainting demonstrations in the 1940s. Referring to his style of painting on the floor, Pollock stated, "I experience nearer, more a office of the painting, since this mode I can walk round information technology, work from the four sides and literally be in the painting. This is alike to the methods of the Indian sand painters of the West."^[53] Other influences on his baste technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he unremarkably had an idea of how he wanted a particular work to appear. His technique combined the movement of his trunk, over which he had control, the sticky period of paint, the forcefulness of gravity, and the assimilation of paint into the canvass. Information technology was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would motion energetically around the canvas, almost as if in a dance, and would non stop until he saw what he wanted to see.

Austrian artist Wolfgang Paalen'south article on totem art of the indigenous people of British Columbia, in which the concept of space in totemist fine art is considered from an artist's bespeak of view, influenced Pollock as well; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen's magazine (DYN iv–five, 1943). He had likewise seen Paalen's surrealist paintings in an exhibition in 1940.^[54] Some other strong influence must have been Paalen'due south surrealist fumage technique, which appealed to painters looking for new means to draw what was called the "unseen" or the "possible". The technique was once demonstrated in Matta's workshop, nigh which Steven Naifeh reports, "Once, when Matta was demonstrating the Surrealist technique [Paalen's] Fumage, Jackson [Pollock] turned to (Peter) Busa and said in a phase 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 take 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 sheet covered the entire floor ... In that location was complete silence ... Pollock looked at the painting. Then, unexpectedly, he picked upwards can and paint brush and started to move effectually the canvas. It was as if he all of a sudden realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were at that place; he did not seem to hear the click of the camera shutter ... My photography session lasted equally long equally he kept painting, perhaps one-half an 60 minutes. In all that time, Pollock did not terminate. How could one keep upwards this level of activity? Finally, he said "This is it."

Pollock'southward finest paintings ... reveal that his all-over line does not requite rise to positive or negative areas: nosotros are not fabricated to feel that 1 part of the canvas demands to be read as figure, whether abstract or representational, confronting another part of the canvas read as ground. There is not within or outside to Pollock's line or the space through which it moves. ... Pollock has managed to free line non only from its function of representing objects in the world, but besides 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's 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 not bring a field of study matter or preconceived thought of what they are to be looking for." His wife said, "He used to requite his pictures conventional titles ... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is—pure painting."^[45]

Critical debate [edit]

Pollock'due south work has been the subject of important critical debates. Critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random energy, and therefore meaningless".^[57] Reynold's News, in a 1959 headline, said, "This is not art—it's a joke in bad gustation."^[58] French abstract painter Jean Hélion, on the other mitt, remarked on showtime seeing a Pollock, "It filled out space going on and on considering it did non have a start or end to it."^[59] Cloudless Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg'due south view of fine art history as a progressive purification in form and elimination of historical content. He considered Pollock'due south work to be the best painting of its 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 picture just an event. The big moment came when it was decided to paint 'only to paint'. The gesture on the canvass was a gesture of liberation from value—political, aesthetic, moral." Many people^{[ who? ]} assumed that he had modeled his "action painter" epitome on Pollock.^[lx]

The Congress for Cultural Freedom, an system to promote American culture and values, backed by the Central Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-fly scholars, including Eva Cockcroft, have argued that the The 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 fine art as "motion fabricated visible memories, arrested in space".^[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 artist Allan Kaprow, sculptors Richard Serra and Eva Hesse, and many gimmicky artists have retained Pollock's emphasis on the process of creation; they were influenced past his approach to the process, rather than the look of his work.^[64]

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

In pop civilization and media [edit]

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

In the early 1990s, three groups of movie makers were developing Pollock biographical projects, each based on a different source. The project that at first seemed most avant-garde was a articulation venture betwixt Barbra Streisand'due south Barwood Films and Robert De Niro's TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock). The script, past Christopher Cleveland, was to exist based on Jeffrey Potter'due south 1985 oral biography, To a Violent Grave, a collection of reminiscences by Pollock's friends. Streisand was to play the function 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'southward lover in the vi months earlier his expiry. This was to be directed by Harold Becker, with Al Pacino playing Pollock.^[66]

In 2000, the biographical moving-picture show Pollock, based on the Pulitzer Prize-winning biography, Jackson Pollock: An American Saga, directed past and starring Ed Harris, was released. Marcia Gay Harden won the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner. The movie was the project of Harris, who was nominated for the Academy Honour for All-time Thespian. 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 mag that Pollock had written his name in his famous painting Mural (1943).^[68] The painting is at present insured for United states$140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held by the University of Iowa, to fund scholarships, only his bill created such controversy that it was apace withdrawn.^{[17] [69]}

Art marketplace [edit]

In 1973, Number xi, 1952 (as well known as Bluish Poles) was purchased by the Australian Whitlam government for the National Gallery of Australia for US$2 million (A$i.3 million at the time of payment). At the fourth dimension, this was the highest toll ever paid for a mod painting. The painting is now one of the about popular exhibits in the gallery.^[70] It was a centerpiece of the Museum of Modernistic Fine 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's most expensive painting, when information technology was sold privately to an undisclosed buyer for the sum of US$140 million. Another artist record was established in 2004, when No. 12 (1949), a medium-sized baste painting that had been shown in the U.s.a. Pavilion at the 1950 Venice Biennale, fetched U.s.a.$11.7 meg at Christie's, New York.^[71] In 2012, Number 28, 1951, one of the artist's combinations of drip and brushwork in shades of silvery gray with red, yellow, and shots of blue and white, also sold at Christie'southward, New York, for US$twenty.5 million—United states$23 1000000 with fees—within its estimated range of The states$20 million to US$xxx one thousand thousand.^[72]

In 2013, Pollock'due south Number nineteen (1948) was sold past Christie's for a reported United states$58,363,750 during an auction that ultimately reached US$495 one thousand thousand total sales in one night, which Christie's reports as a record to date as the most expensive auction of gimmicky art.^[73]

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

Authenticity issues [edit]

The Pollock-Krasner Hallmark Board was created by the Pollock-Krasner Foundation in 1990 to evaluate newly plant 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 apropos Teri Horton, a truck driver who bought an abstract painting for v dollars at a thrift store in California in 1992. This piece of work may exist 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 authenticity suit before the United States Commune Court for the Southern District of New York. Done in the painter'south classic baste-and-splash fashion and signed "J. Pollock", the modest-sized painting (fifteen by 28 1/two in) was institute to incorporate yellow paint pigments not commercially available until virtually 1970.^[77] The suit was settled in a confidential agreement in 2012.^[78]

Fractal computer analysis [edit]

In 1999, physicist and creative person Richard Taylor used computer analysis to prove similarities between Pollock'due south painted patterns and fractals (patterns that recur on multiple size scales) found in natural scenery,^[79] reflecting Pollock'south own words: "I am nature".^[80] His research squad labelled Pollock'due south manner fractal expressionism.^[81]

In 2003, 24 Pollockesque paintings and drawings were plant in a locker in Wainscott, New York. In 2005, The Pollock-Krasner Foundation requested a fractal assay to be used for the beginning time in an authenticity dispute.^{[82] [83] [84] [85] [86]} Researchers at the Academy of Oregon used the technique to identify differences betwixt the patterns in the 6 disputed paintings analyzed and those in fourteen established Pollocks.^[82] Pigment analysis of the paintings by researchers at Harvard University showed the presence in i painting of a synthetic pigment that was not 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 volume, Pollock Matters, written by Ellen K. Landau, one of the four 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 betwixt 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 also 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] [xc]} All the same, the scientist who invented ane of the modern pigments dismissed the possibility that Pollock used this paint every bit beingness "unlikely to the point of fantasy".^{[ citation needed ]}

Later on, over 10 scientific groups take performed fractal assay 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 achieved a 93% success charge per unit distinguishing existent from fake Pollocks.^[101] Electric current research of Fractal Expressionism focuses on human being response to viewing fractals. Cerebral neuroscientists have shown that Pollock'south fractals induce the same stress-reduction in observers every bit 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 split organization, the Pollock-Krasner Foundation, was established in 1985. The foundation functions every bit the official manor for both Pollock and his widow, but besides nether the terms of Krasner'due south will, serves "to assist individual working artists of merit with financial demand".^[104] The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society.^[105]

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

List of major works [edit]

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

• (1942) Male and Female person Philadelphia Museum of Art^[106]
• (1942) Stenographic Effigy Museum of Mod Art^[107]
• (1942) The Moon Woman Peggy Guggenheim Collection^[108]
• (1943) Mural Academy of Iowa Museum of Fine art,^[109] given by Peggy Guggenheim^[110]
• (1943) The She-Wolf Museum of Modern Art^[111]
• (1943) Blueish (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) Eyes in the Heat Peggy Guggenheim Drove, Venice^[115]
• (1946) The Key Fine art Institute of Chicago^[116]
• (1946) The Tea Cup Collection Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Art^[118]
• (1947) Portrait of H.K. Academy of Iowa Museum of Art, given by Peggy Guggenheim.^[119]
• (1947) Full Fathom Five Museum of Modernistic Art^[120]
• (1947) Cathedral Dallas Museum of Art^[121]
• (1947) Enchanted Woods Peggy Guggenheim Collection^[122]
• (1947) Lucifer The Anderson Drove at Stanford University^[123]
• (1947) Sea Alter Seattle Art Museum, given by Peggy Guggenheim^[124]
• (1948) Painting ^[125]
• (1948) Number v (4 ft x 8 ft) Private collection
• (1948) Number 8 Neuburger Museum at the State Academy of New York at Purchase
• (1948) Number 13A: Arabesque Yale University Fine art Gallery, New Haven, Connecticut
• (1948) Composition (White, Black, Blue and Ruddy on White) New Orleans Museum of Art^[126]
• (1948) Summertime: Number 9A Tate Mod
• (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 10 Museum of Fine Arts, Boston^[129]
• (1949) Number 11 Indiana University Art Museum Bloomington, Indiana^[130]
• (1950) Number one, 1950 (Lavender Mist) National Gallery of Art^[131]
• (1950) Landscape on Indian red footing, 1950 Tehran Museum of Contemporary 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) Black and White (Number half-dozen) San Francisco Museum of Mod Art
• (1952) Convergence Albright-Knox Fine art Gallery^[139]
• (1952) Blue Poles: No. 11, 1952 National Gallery of Commonwealth of australia^[140]
• (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire State Plaza Fine art Drove^[141]
• (1953) Portrait and a Dream Dallas Museum of Art^[142]
• (1953) Easter and the Totem The Museum of Modern Art^[143]
• (1953) Ocean Grayness 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 Mod Fine art. pp. 315–329. ISBN978-0-87070-069-9.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Modern Fine art, Nov ane, 1998 to Feb 2, 1999, The Tate Gallery, London, March 11 to June half-dozen, 1999: "While it is de rigueur to concentrate on the signature works that define an artist's 'fashion', it is very important to sympathize its evolution..."
3. ^ ^{a b c d} Piper, David (2000). The Illustrated History of Art. London: Chancellor Printing. pp. 460–461. ISBN978-0-7537-0179-ix.
4. ^ Friedman, B.H. (1995). Jackson Pollock : energy made visible (i ed.). New York: Da Capo Press. p. iv. ISBN978-0-306-80664-3.
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Further reading [edit]

• Herskovic, Marika (2009). American Abstract and Figurative Expressionism Way Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York Schoolhouse Press. pp. 127, 196–ix. 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 Choice by Artists. New York School Printing. pp. xviii, 38, 278–81. ISBN978-0-9677994-0-7. OCLC 50666793.
• Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Central 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 Fine art. ISBN978-0-87070-069-9.
• O'Connor, Francis V. (1967). Jackson Pollock [exhibition catalogue]. New York: Museum of Modern Fine art. OCLC 165852.
• Taylor, Richard; Micolich, Adam; Jonas, David (Oct 1999). "Fractal Expressionism". Physics World. 12 (10): 25–28. doi:x.1088/2058-7058/12/10/21. Archived from the original on August v, 2012. Retrieved September 18, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-vi.
• Smith, Roberta (February xv, 2002). "Art in Review". The New York Times.
• mcah.columbia.edu

External links [edit]

• Exhibition-'Memories Arrested' 2012
• Pollock-Krasner House and Report Centre
• Pollock-Krasner Foundation
• Pollock and The Law
• National Gallery of Fine art web feature, includes highlights of Pollock'due south career, numerous examples of his piece of work, photographs and motion footage of Pollock, plus an in-depth word of his 1950 painting Lavander Mist
• Blue Poles at the NGA
• Fractal Expressionism – the fractal qualities of Pollock'southward 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 Magazine
• Works by Jackson Pollock (public domain in Canada)

Museum links

• Jackson Pollock at the Museum of Mod 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

howardfrass2001.blogspot.com

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

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