Where Did Jackson Pollock Go to Art School Art Students League

American painter

Jackson Pollock
Studio portrait at most age 16
Born	Paul Jackson Pollock (1912-01-28)Jan 28, 1912 Cody, Wyoming, U.S.
Died	August 11, 1956(1956-08-eleven) (aged 44) Springs, New York, U.Southward.
Teaching	Fine art Students League of New York
Known for	Painting
Notable work	Number 17A (1948) No. 5, 1948 (1948) Landscape on Indian Red Ground (1950) Autumn Rhythm (1950) Convergence (1952) Blue Poles (Number 11, 1952) (1952) The Deep (1953)
Motion	Abstract expressionism
Spouse(s)	Lee Krasner ​ (m. 1945)​
Patron(south)	Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August eleven, 1956) was an American painter and a major figure 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 action painting, since he covered the entire canvas and used the strength of his whole body to paint, often in a frenetic dancing style. This farthermost form 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 buy.

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 alcohol-related unmarried-automobile accident when he was driving. In December 1956, iv months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York Metropolis. 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] [ii]}

Early on 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 built-in and grew upward in Tingley, Iowa, and were educated at Tingley High School. Pollock'due south female parent is interred at Tingley Cemetery, Ringgold County, Iowa. His father had been built-in with the surname McCoy, merely took the surname of his adoptive parents, neighbors who adopted him afterwards his own parents had died inside a year of each other. Stella and LeRoy Pollock were Presbyterian; they were of Irish gaelic and Scots-Irish descent, respectively.^[4] LeRoy Pollock was a farmer and subsequently a land surveyor for the government, moving for different jobs.^[3] Stella, proud of her family unit's heritage as weavers, made and sold dresses as a teenager.^[5] In November 1912, Stella took her sons to San Diego; Jackson was merely 10 months old and would never return to Cody.^[5] He subsequently grew upward in Arizona and Chico, California.

While living in the Vermont Foursquare neighborhood of Los Angeles, he enrolled at Manual Arts Loftier School,^[six] 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.^{[3] [7]} He was also heavily influenced past Mexican muralists, particularly José Clemente Orozco,^{[8] [9]} whose fresco Prometheus he would later call "the greatest painting in North America".^[ten]

In 1930, following his older brother Charles Pollock, he moved to New York Urban center, where they both studied under Thomas Hart Benton at the Art Students League. Benton's rural American discipline matter had picayune influence on Pollock's piece of work, but his rhythmic use of paint and his fierce independence were more than lasting.^[3] In the early 1930s, Pollock spent a summer touring the Western The states together with Glen Rounds, a fellow art pupil, and Benton, their teacher.^{[eleven] [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 by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques on canvases of the early 1940s, such equally Male person and Female and Composition with Pouring I. Subsequently his move to Springs, New York, he began painting with his canvases laid out on the studio floor and he developed what was afterwards chosen 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 50. 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.^{[fourteen] [15]} Some historians^{[ who? ]} accept hypothesized that Pollock might have had bipolar disorder.^[16] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the 8-by-20-human foot (two.4 by 6.ane yard) 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, so that it would be portable. After seeing the big mural, the fine art critic Clement Greenberg wrote: "I took i wait at it and I thought, 'At present that's bully art,' and I knew Jackson was the greatest painter this state had produced."^[xviii] The itemize introducing his showtime exhibition described Pollock'southward talent every bit "volcanic. Information technology has burn. It is unpredictable. It is undisciplined. Information technology spills out of itself in a mineral prodigality, not yet crystallized."^[19]

Drip period [edit]

Pollock'due south most famous paintings were made during the "baste period" between 1947 and 1950. He became famous following an August 8, 1949, iv-page spread in Life magazine that asked, "Is he the greatest living painter in the United States?" Thanks to the arbitration of Alfonso Ossorio, a close 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'due south works from 1948 to 1951^[twenty] in his Studio Paul Facchetti in Paris and in Europe.^[21] At the height of his fame, Pollock abruptly abased the drip style.^[22] Pollock's baste paintings were influenced by the creative person Janet Sobel; the art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's work "had made an impression on him."^[23]

Pollock'south work afterwards 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings accept 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 later sold 1 to a friend at half the price. These works prove Pollock attempting to find a balance between abstraction and depictions of the figure.^[24]

He later on returned to using color and continued with figurative elements.^[25] During this menstruum, Pollock had moved to the Sidney Janis Gallery, a more commercial gallery; the need for his work from collectors was great. In response to this pressure, 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 notwithstanding intrigued with Pollock'due south piece of 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 metropolis to the Springs surface area of E Hampton on the southward shore of Long Island. With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame house and befouled at 830 Springs Fireplace Road. Pollock converted the befouled into a studio. In that space, he perfected his big "baste" technique of working with paint, with which he would go permanently identified. When the couple found themselves gratis from piece of work they enjoyed spending their fourth dimension 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 past the latter half of the 1960s due to the rise of feminism at the time.^[thirty] Krasner'due south extensive noesis and training in modern art and techniques helped her bring Pollock up to engagement with what contemporary fine art should exist. Krasner is often considered to accept tutored her husband in the tenets of modernistic painting.^{[31] [32]} Pollock was then able to alter his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became the ane 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 help further his career equally an emerging creative person.^[34] Art dealer John Bernard Myers once said "at that place 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's career.^[35]

Jackson Pollock'southward influence on his wife'southward artwork is oftentimes discussed by art historians. Many people idea that Krasner began to reproduce and reinterpret her husband'due south 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 fashion to move towards Pollock's I am nature technique in order to reproduce nature in her fine art.^[37]

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

In 1955, Pollock painted Scent and Search, his last two paintings.^[38] He did non pigment at all in 1956, merely was making sculptures at Tony Smith's abode: constructions of wire, gauze, and plaster.^[25] Shaped by sand-casting, they have heavily textured surfaces like to what Pollock oft created in his paintings.^[39]

Pollock and Krasner'due south relationship began to crumble by 1956, owing to Pollock'due south standing alcoholism and infidelity involving some other artist, Ruth Kligman.^[40] On August eleven, 1956, at 10:15 p.one thousand., Pollock died in a single-motorcar 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] One of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's habitation. 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 in that location in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.^{[i] [two]}

For the rest of her life, his widow Lee Krasner managed his estate and ensured that Pollock'due south reputation remained potent despite changing art world trends. The couple are cached in Dark-green River Cemetery in Springs with a large boulder mark his grave and a smaller ane 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 employ of household paints, instead of artist's paints, as "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 idea to be one of the origins of the term action painting. With this technique, Pollock was able to achieve his ain 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 existence 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 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 piece of work there in 1946 and later Greenberg noted that Sobel was "a direct influence on Jackson Pollock's drip painting technique".^[49] In his essay "American-Type Painting", Greenberg noted those works were the beginning of all-over painting he had seen, and said, "Pollock admitted that these pictures had made an impression on him".^[fifty]

While painting this way, Pollock moved away from figurative representation, and challenged the Western tradition of using easel and brush. He used the strength of his whole trunk 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 non come from the easel. I prefer to tack the unstretched sheet to the difficult wall or the flooring. I need the resistance of a difficult surface. On the floor I am more than at ease. I feel nearer, more part of the painting, since this manner I can walk around it, work from the four sides and literally be in the painting.

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

When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of "become acquainted" menses that I see what I have been about. I have no fear of making changes, destroying the image, etc., considering the painting has a life of its own. I effort to let information technology come through. Information technology is only when I lose contact with the painting that the result is a mess. Otherwise there 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 feel nearer, more a office of the painting, since this way I can walk round it, piece of work from the four sides and literally exist in the painting. This is alike to the methods of the Indian sand painters of the Due west."^[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 particular piece of work to appear. His technique combined the move of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of pigment into the sheet. Information technology was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically effectually the canvas, most as if in a dance, and would non end 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 art is considered from an creative person's point of view, influenced Pollock besides; Pollock owned a signed and defended re-create of the Amerindian Number of Paalen'south magazine (DYN 4–5, 1943). He had too seen Paalen's surrealist paintings in an exhibition in 1940.^[54] Another strong influence must have been Paalen's surrealist fumage technique, which appealed to painters looking for new means to depict what was chosen the "unseen" or the "possible". The technique was in one case demonstrated in Matta's workshop, about which Steven Naifeh reports, "In one case, 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 smoke.'"^[55] Pollock'south painter friend Fritz Bultman even stated, "It was Wolfgang Paalen who started it all."^[56]

In 1950, Hans Namuth, a young photographer, wanted to have pictures—both stills and moving—of Pollock at piece of 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 sail covered the entire floor ... In that location was complete silence ... Pollock looked at the painting. Then, unexpectedly, he picked upward can and paint brush and started to movement around the canvass. 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 trip the light fantastic toe similar equally he flung blackness, 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 as long equally he kept painting, perhaps half an 60 minutes. In all that fourth dimension, Pollock did not stop. How could ane proceed up this level of activity? Finally, he said "This is it."

Pollock's finest paintings ... reveal that his all-over line does non give rising to positive or negative areas: we are not made to feel that 1 role of the canvas demands to be read every bit figure, whether abstruse or representational, against another part of the canvas read every bit ground. There is non inside or outside to Pollock'due south line or the space through which it moves. ... Pollock has managed to gratis line not only from its office of representing objects in the world, 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 virtually this, "[Fifty]ook passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for." His married woman said, "He used to give his pictures conventional titles ... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what information technology is—pure painting."^[45]

Disquisitional argue [edit]

Pollock'southward piece of work has been the discipline of important critical debates. Critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random free energy, and therefore meaningless".^[57] Reynold'southward News, in a 1959 headline, said, "This is not art—it'due south a joke in bad gustation."^[58] French abstract painter Jean Hélion, on the other hand, remarked on get-go seeing a Pollock, "It filled out space going on and on because it did not have a get-go or finish to information technology."^[59] Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg'southward view of art history as a progressive purification in class and elimination of historical content. He considered Pollock's work to be the best painting of its twenty-four hours 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 proceed the canvas was not a movie simply an consequence. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvass was a gesture of liberation from value—political, aesthetic, moral." Many people^{[ who? ]} causeless that he had modeled his "activity painter" paradigm on Pollock.^[60]

The Congress for Cultural Liberty, an organisation to promote American civilisation and values, backed by the Primal Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-wing scholars, including Eva Cockcroft, have argued that the United States government and wealthy aristocracy embraced Pollock and abstruse 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's staining into raw canvas was adapted by the Colour 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'southward emphasis on the process of creation; they were influenced past his arroyo 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 mod art in a poll of 500 artists, curators, critics, and dealers.^[65]

In popular culture and media [edit]

In 1960, Ornette Coleman's album Gratis Jazz: A Collective Improvisation featured a Pollock painting, The White Light, every bit 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 showtime seemed most avant-garde was a articulation venture between Barbra Streisand's Barwood Films and Robert De Niro'southward TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock). The script, by Christopher Cleveland, was to be based on Jeffrey Potter'south 1985 oral biography, To a Violent Grave, a collection of reminiscences past Pollock's friends. Streisand was to play the function of Lee Krasner, and De Niro was to portray Pollock. A 2nd was to be based on Love Matter (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his decease. This was to be directed past Harold Becker, with Al Pacino playing Pollock.^[66]

In 2000, the biographical flick 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 Extra for her portrayal of Lee Krasner. The motion-picture show was the projection 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 not qualify or interact with any production.^[66]

In September 2009, the art historian Henry Adams claimed in Smithsonian magazine that Pollock had written his proper 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 neb to force the sale of the artwork, held by the University of Iowa, to fund scholarships, but his neb created such controversy that it was quickly withdrawn.^{[17] [69]}

Art market place [edit]

In 1973, Number xi, 1952 (also known equally Blue Poles) was purchased by the Australian Whitlam government for the National Gallery of Commonwealth of australia for US$2 million (A$1.3 1000000 at the time of payment). At the time, this was the highest price ever paid for a modern painting. The painting is at present one of the most pop exhibits in the gallery.^[70] 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. v, 1948 became the world'due south nigh expensive painting, when information technology was sold privately to an undisclosed buyer for the sum of The states$140 million. Another artist record was established in 2004, when No. 12 (1949), a medium-sized drip painting that had been shown in the United states of america Pavilion at the 1950 Venice Biennale, fetched US$11.seven one thousand thousand at Christie'southward, New York.^[71] In 2012, Number 28, 1951, i of the artist's combinations of drip and brushwork in shades of silvery grayness with red, yellowish, and shots of blue and white, also sold at Christie's, New York, for US$xx.5 million—U.s.$23 one thousand thousand with fees—within its estimated range of US$20 million to United states of america$30 million.^[72]

In 2013, Pollock'southward Number 19 (1948) was sold by Christie's for a reported U.s.a.$58,363,750 during an sale that ultimately reached United states of america$495 million full sales in 1 night, which Christie'due south reports every bit a record to appointment as the virtually expensive auction of gimmicky art.^[73]

In February 2016, Bloomberg News reported that Kenneth C. Griffin had purchased Jackson Pollock's 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, notwithstanding, the Pollock-Krasner Foundation has declined to be involved in authentication cases.^[76]

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

Untitled 1950, which the New York-based Knoedler Gallery had sold in 2007 for $17 million to Pierre Lagrange, a London hedge-fund multimillionaire, was subject to an authenticity suit earlier the Usa Commune Court for the Southern District of New York. Done in the painter'due south classic baste-and-splash style and signed "J. Pollock", the modest-sized painting (15 past 28 1/2 in) was found to contain yellow paint pigments not commercially available until almost 1970.^[77] The accommodate was settled in a confidential agreement in 2012.^[78]

Fractal computer analysis [edit]

In 1999, physicist and artist Richard Taylor used reckoner assay to show similarities between Pollock'south painted patterns and fractals (patterns that recur on multiple size scales) constitute in natural scenery,^[79] reflecting Pollock's ain words: "I am nature".^[80] His inquiry squad labelled Pollock's style 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 first time in an authenticity dispute.^{[82] [83] [84] [85] [86]} Researchers at the University of Oregon used the technique to identify differences between the patterns in the half dozen disputed paintings analyzed and those in fourteen established Pollocks.^[82] Pigment analysis of the paintings by researchers at Harvard University showed the presence in one painting of a constructed pigment that was not patented until the 1980s, and materials in ii 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 past Ellen G. Landau, ane 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 volume, 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 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] [90]} Nonetheless, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this paint as being "unlikely to the point of fantasy".^{[ citation needed ]}

Subsequently, over 10 scientific groups have 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 assay as ane of its techniques achieved a 93% success rate distinguishing existent from faux Pollocks.^[101] Current research of Fractal Expressionism focuses on human response to viewing fractals. Cerebral neuroscientists have shown that Pollock'due south 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 Athenaeum of American Art in 1983. They were later archived with her own papers. The Archives of American Art also houses the Charles Pollock papers, which include correspondence, photographs, and other files relating to his brother Jackson.

A separate organization, the Pollock-Krasner Foundation, was established in 1985. The foundation functions every bit the official estate for both Pollock and his widow, only also under the terms of Krasner's will, serves "to aid individual working artists of merit with fiscal demand".^[104] The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Gild.^[105]

The Pollock-Krasner House and Studio is owned and administered past the Stony Brook Foundation, a nonprofit chapter of Stony Brook University. Regular tours of the house and studio occur from May through October.

List of major works [edit]

Pollock's 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 Effigy Museum of Modernistic Fine art^[107]
• (1942) The Moon Woman Peggy Guggenheim Drove^[108]
• (1943) Landscape University of Iowa Museum of Art,^[109] given by Peggy Guggenheim^[110]
• (1943) The She-Wolf Museum of Mod Art^[111]
• (1943) Blueish (Moby Dick) Ohara Museum of Fine art^[112]
• (1945) Nighttime Mist Norton Museum of Fine art^[113]
• (1945) Troubled Queen Museum of Fine Arts, Boston^[114]
• (1946) Eyes in the Heat Peggy Guggenheim Drove, Venice^[115]
• (1946) The Cardinal Art Institute of Chicago^[116]
• (1946) The Tea Cup Collection Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Mod Art^[118]
• (1947) Portrait of H.M. University of Iowa Museum of Art, given by Peggy Guggenheim.^[119]
• (1947) Full 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 Academy^[123]
• (1947) Body of water Modify Seattle Art Museum, given by Peggy Guggenheim^[124]
• (1948) Painting ^[125]
• (1948) Number 5 (4 ft x 8 ft) Private drove
• (1948) Number 8 Neuburger Museum at the State Academy of New York at Purchase
• (1948) Number 13A: Arabesque Yale University Art Gallery, New Oasis, Connecticut
• (1948) Composition (White, Black, Bluish and Red on White) New Orleans Museum of Art^[126]
• (1948) Summer: Number 9A Tate Modern
• (1948) "Number xix"^[127]
• (1949) Number ane 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 eleven Indiana University Art Museum Bloomington, Indiana^[130]
• (1950) Number 1, 1950 (Lavender Mist) National Gallery of Fine art^[131]
• (1950) Landscape on Indian cherry ground, 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 seven National Gallery of Art^[138]
• (1951) Black and White (Number vi) San Francisco Museum of Modern Art
• (1952) Convergence Albright-Knox Art Gallery^[139]
• (1952) Blue Poles: No. 11, 1952 National Gallery of Australia^[140]
• (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire State Plaza Fine art Collection^[141]
• (1953) Portrait and a Dream Dallas Museum of Fine art^[142]
• (1953) Easter and the Totem The Museum of Modern Fine art^[143]
• (1953) Sea Gray 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 Mod Art. pp. 315–329. ISBN978-0-87070-069-nine.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Mod Art, Nov 1, 1998 to February 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'south 'mode', information technology is very of import to understand its development..."
3. ^ ^{a b c d} Piper, David (2000). The Illustrated History of Art. London: Chancellor Press. pp. 460–461. ISBN978-0-7537-0179-9.
4. ^ Friedman, B.H. (1995). Jackson Pollock : energy made visible (one ed.). New York: Da Capo Press. p. 4. ISBN978-0-306-80664-3.
5. ^ ^{a b} Solomon, Deborah (June 26, 2001). Jackson Pollock: A Biography. Cooper Square Press. pp. xv–xvi, 21. ISBN9781461624271.
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Further reading [edit]

• Herskovic, Marika (2009). American Abstruse 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-two-ane. OCLC 298188260.
• Herskovic, Marika (2003). American Abstruse Expressionism of the 1950s An Illustrated Survey. New York School Press. pp. 262–5. ISBN978-0-9677994-1-four. OCLC 50253062.
• Herskovic, Marika (2000). New York School Abstract Expressionists Artists Choice by Artists. New York Schoolhouse Press. pp. eighteen, 38, 278–81. ISBN978-0-9677994-0-7. OCLC 50666793.
• Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Primal 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 Five. (1967). Jackson Pollock [exhibition catalogue]. New York: Museum of Modern Art. OCLC 165852.
• Taylor, Richard; Micolich, Adam; Jonas, David (October 1999). "Fractal Expressionism". Physics Earth. 12 (10): 25–28. doi:10.1088/2058-7058/12/x/21. Archived from the original on Baronial v, 2012. Retrieved September 18, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson Due north. Potter. ISBN978-0-517-56084-6.
• 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 Centre
• Pollock-Krasner Foundation
• Pollock and The Law
• National Gallery of Art web characteristic, includes highlights of Pollock'south career, numerous examples of his work, photographs and move footage of Pollock, plus an in-depth give-and-take of his 1950 painting Lavender Mist
• Blueish Poles at the NGA
• Fractal Expressionism – the fractal qualities of Pollock's drip paintings.
• Jackson Pollock Papers at the Smithsonian's Archives of American Fine 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 Canton Museum of Art (LACMA), Los Angeles, California
• Museum of Gimmicky Art (MOCA), Los Angeles, California
• Jackson Pollock at the State of israel Museum, Jerusalem

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

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