Did Clement Greenberg Give Vincent Van Goghs First Art Show

American painter

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

Paul Jackson Pollock (; January 28, 1912 – Baronial 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 pigment onto a horizontal surface, enabling him to view and pigment his canvases from all angles. It was likewise called all-over painting and action painting, since he covered the entire canvas and used the force of his whole body to paint, often in a corybantic dancing style. This extreme grade of brainchild divided the critics: some praised the immediacy of the cosmos, while others derided the random effects. In 2016, Pollock'southward painting titled Number 17A was reported to have fetched US$200 one thousand thousand in a private purchase.

A reclusive and volatile personality, Pollock struggled with alcoholism for most of his life. In 1945, he married the artist 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 single-automobile accident when he was driving. In December 1956, 4 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 at that place in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.^{[1] [two]}

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 born and grew upwards in Tingley, Iowa, and were educated at Tingley High School. Pollock'due south 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 later his own parents had died within a yr 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 later a land surveyor for the government, moving for dissimilar jobs.^[3] Stella, proud of her family unit'south heritage as weavers, fabricated and sold dresses as a teenager.^[v] In Nov 1912, Stella took her sons to San Diego; Jackson was just 10 months one-time and would never return 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 High Schoolhouse,^[6] from which he was expelled. He had already been expelled in 1928 from another high schoolhouse. During his early life, Pollock explored Native American culture while on surveying trips with his father.^{[3] [7]} He was also heavily influenced by Mexican muralists, particularly José Clemente Orozco,^{[8] [nine]} whose fresco Prometheus he would after call "the greatest painting in Northward America".^[ten]

In 1930, following his older blood brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton's rural American subject matter had little influence on Pollock's piece of work, but his rhythmic use of paint and his violent independence were more lasting.^[three] In the early on 1930s, Pollock spent a summer touring the Western Us together with Glen Rounds, a young man art student, and Benton, their teacher.^{[eleven] [12]}

Career (1936–1954) [edit]

Pollock was introduced to the use of liquid pigment in 1936 at an experimental workshop in New York Metropolis by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques on canvases of the early 1940s, such as Male person and Female person and Composition with Pouring I. Later on 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 "drip" technique.

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.^[xiii] During this fourth dimension Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph 50. Henderson and afterward with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings.^{[14] [15]} Some historians^{[ who? ]} have hypothesized that Pollock might have had bipolar disorder.^[16] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the committee to create the 8-past-20-pes (2.iv by half-dozen.ane m) 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 information technology would be portable. Subsequently seeing the large mural, the fine art critic Clement Greenberg wrote: "I took one expect at it and I thought, 'Now that's cracking art,' and I knew Jackson was the greatest painter this country had produced."^[18] The itemize introducing his start exhibition described Pollock's talent as "volcanic. It has burn down. It is unpredictable. It is undisciplined. Information technology spills out of itself in a mineral prodigality, not notwithstanding crystallized."^[19]

Drip period [edit]

Pollock'southward about famous paintings were made during the "drip period" betwixt 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 Us?" Thanks to the mediation of Alfonso Ossorio, a close friend of Pollock, and the art historian Michel Tapié, the young gallery possessor Paul Facchetti, from March 7, 1952, managed to realize the beginning exhibition of Pollock's works from 1948 to 1951^[20] in his Studio Paul Facchetti in Paris and in Europe.^[21] At the meridian of his fame, Pollock abruptly abandoned the drip style.^[22] Pollock's drip paintings were influenced by the artist Janet Sobel; the art critic Cloudless Greenberg would subsequently report that Pollock "admitted" to him that Sobel's work "had made an impression on him."^[23]

Pollock'southward piece of work after 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings have been referred to equally his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold one to a friend at one-half the toll. These works prove Pollock attempting to observe a balance between abstraction and depictions of the effigy.^[24]

He later 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 demand 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 yet intrigued with Pollock's piece of work and went to his apartment, unannounced, to encounter him following the gallery exhibition.^[27] In October 1945, Pollock and Lee Krasner were married in a church with 2 witnesses present for the issue.^[28] In November, they moved out of the metropolis to the Springs expanse of E Hampton on the south shore of Long Island. With the assistance of a down-payment loan from Peggy Guggenheim, they bought a woods-frame house and barn at 830 Springs Fireplace Road. Pollock converted the barn 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 costless from piece of work they enjoyed spending their time together cooking and blistering, working on the house and garden, and entertaining friends.^[29]

Krasner's influence on her husband'south art was something critics began to reassess by the latter one-half of the 1960s due to the rise of feminism at the time.^[thirty] Krasner's all-encompassing knowledge and training in mod art and techniques helped her bring Pollock up to engagement with what contemporary art should be. Krasner is often considered to take tutored her husband in the tenets of modernistic painting.^{[31] [32]} Pollock was then able to change his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became the one judge he could trust.^{[31] [33]} At the beginning of the ii artists' wedlock, Pollock would trust his peers' opinions on what did or did not piece of work in his pieces.^[33] Krasner was as well responsible for introducing him to many collectors, critics, and artists, including Herbert Affair, who would help further his career equally an emerging artist.^[34] Art dealer John Bernard Myers one time said "there would never accept been a Jackson Pollock without a Lee Pollock", whereas fellow painter Fritz Bultman referred to Pollock equally Krasner'due south "cosmos, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock's career.^[35]

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

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

In 1955, Pollock painted Odour and Search, his last two paintings.^[38] He did not 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 take heavily textured surfaces similar to what Pollock often created in his paintings.^[39]

Pollock and Krasner'due south relationship began to crumble past 1956, owing to Pollock's continuing alcoholism and adultery involving another artist, Ruth Kligman.^[forty] On August 11, 1956, at 10:15 p.m., Pollock died in a single-motorcar crash in his Oldsmobile convertible while driving under the influence of alcohol. At the fourth dimension, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.^[40] I of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's abode. The other passenger, Ruth Kligman, survived.^[41] In Dec 1956, 4 months afterward his decease, 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 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] [2]}

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

Artistry [edit]

Influence and technique [edit]

The 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 time was a novel medium. Pollock described this utilize of household paints, instead of artist's paints, equally "a natural growth out of a need".^[45] He used hardened brushes, sticks, and fifty-fifty basting syringes as pigment applicators. Pollock's technique of pouring and dripping paint is thought to exist 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. By defying the convention of painting on an upright surface, he added a new dimension past beingness able to view and employ pigment 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 Fine art of This Century Gallery in 1945.^[48] Jackson Pollock and art critic Clement Greenberg saw Sobel's work there in 1946 and later Greenberg noted that Sobel was "a straight influence on Jackson Pollock's drip painting technique".^[49] In his essay "American-Blazon Painting", Greenberg noted those works were the first of all-over painting he had seen, and said, "Pollock admitted that these pictures had made an impression on him".^[50]

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

My painting does not come up from the easel. I adopt to tack the unstretched canvas to the hard 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 fashion I can walk around it, work from the iv sides and literally exist in the painting.

I continue to get farther abroad from the usual painter's tools such equally 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 matter added.

When I am in my painting, I'yard not aware of what I'yard doing. It is just afterward a sort of "go acquainted" period that I encounter what I have been about. I have no fear of making changes, destroying the epitome, etc., because the painting has a life of its ain. I try to let it come through. Information technology is merely 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 part of the painting, since this way I can walk circular it, work from the four sides and literally exist in the painting. This is akin to the methods of the Indian sand painters of the W."^[53] Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he usually had an thought of how he wanted a detail work to appear. His technique combined the movement of his torso, over which he had control, the gluey period of pigment, the forcefulness of gravity, and the assimilation of pigment into the canvas. Information technology was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, virtually every bit if in a trip the light fantastic toe, and would non stop until he saw what he wanted to see.

Austrian artist Wolfgang Paalen'due south commodity on totem fine art of the indigenous people of British Columbia, in which the concept of space in totemist fine art is considered from an artist'due south betoken of view, influenced Pollock as well; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen's magazine (DYN 4–5, 1943). He had too seen Paalen's surrealist paintings in an exhibition in 1940.^[54] Some other potent influence must accept been Paalen'southward surrealist fumage technique, which appealed to painters looking for new ways to depict what was chosen the "unseen" or the "possible". The technique was once demonstrated in Matta's workshop, most which Steven Naifeh reports, "Once, when Matta was demonstrating the Surrealist technique [Paalen'south] 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 young lensman, wanted to have pictures—both stills and moving—of Pollock at work. Pollock promised to beginning 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'southward unique painting techniques

Namuth said that when he entered the studio:

A dripping wet canvas covered the entire floor ... At that place was consummate silence ... Pollock looked at the painting. Then, unexpectedly, he picked upward can and pigment brush and started to move around the canvas. It was every bit if he suddenly realized the painting was not finished. His movements, deadening at first, gradually became faster and more dance like every bit he flung black, white, and rust colored paint onto the sheet. 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 as he kept painting, perhaps one-half an hour. In all that time, Pollock did non cease. How could one keep up this level of action? Finally, he said "This is information technology."

Pollock's finest paintings ... reveal that his all-over line does not give rise to positive or negative areas: nosotros are not made to feel that ane part of the sail demands to be read as figure, whether abstract or representational, confronting another office of the sheet read as ground. There is not inside or outside to Pollock's line or the space through which it moves. ... Pollock has managed to free line non merely from its function of representing objects in the world, but too 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'due south search for figurative elements in his paintings, Pollock abased titles and started numbering his works. He said about this, "[L]ook passively and attempt 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 wife said, "He used to give his pictures conventional titles ... but at present he simply numbers them. Numbers are neutral. They make people wait at a motion-picture show for what it is—pure painting."^[45]

Disquisitional debate [edit]

Pollock's work has been the subject of important disquisitional debates. Critic Robert Coates once derided a number of Pollock'due south works as "mere unorganized explosions of random energy, and therefore meaningless".^[57] Reynold's News, in a 1959 headline, said, "This is not fine art—it'due south a joke in bad taste."^[58] French abstract painter Jean Hélion, on the other hand, remarked on first seeing a Pollock, "Information technology filled out infinite going on and on considering it did not accept a start or stop to it."^[59] Clement Greenberg supported Pollock's piece of work on formalistic grounds. It fit well with Greenberg's view of art history equally a progressive purification in grade and elimination of historical content. He considered Pollock'southward 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 keep the canvas was not a picture just an consequence. The big moment came when information technology was decided to paint 'only to paint'. The gesture on the sail was a gesture of liberation from value—political, aesthetic, moral." Many people^{[ who? ]} assumed that he had modeled his "activeness painter" paradigm on Pollock.^[60]

The Congress for Cultural Freedom, an organisation to promote American culture and values, backed past the Central Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-fly scholars, including Eva Cockcroft, have argued that the United states of america government and wealthy aristocracy embraced Pollock and abstract expressionism to place the The states in the forefront of global art and devalue socialist realism.^{[58] [61]} Cockcroft wrote that Pollock became a "weapon of the Common cold State of war".^[62]

Pollock described his art as "move made visible memories, arrested in space".^[63]

Legacy [edit]

Influence [edit]

Pollock'due south 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 contemporary artists have retained Pollock's accent on the process of creation; they were influenced by his approach to the process, rather than the look of his piece of work.^[64]

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

In pop culture and media [edit]

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

In the early 1990s, three groups of pic makers were developing Pollock biographical projects, each based on a different source. The project that at start 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, by Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, To a Trigger-happy Grave, a collection of reminiscences by Pollock's friends. Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock. A second was to be based on Love Matter (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his expiry. This was to be directed by Harold Becker, with Al Pacino playing Pollock.^[66]

In 2000, the biographical film Pollock, based on the Pulitzer Prize-winning biography, Jackson Pollock: An American Saga, directed by and starring Ed Harris, was released. Marcia Gay Harden won the Academy Accolade for Best Supporting Actress for her portrayal of Lee Krasner. The picture was the project of Harris, who was nominated for the Academy Laurels for Best Histrion. Harris himself painted the works seen in the film.^[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 proper name in his famous painting Mural (1943).^[68] The painting is now insured for US$140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a beak to force the sale of the artwork, held by the University of Iowa, to fund scholarships, but his bill created such controversy that it was quickly withdrawn.^{[17] [69]}

Art market place [edit]

In 1973, Number 11, 1952 (also known equally Blue Poles) was purchased past the Australian Whitlam authorities for the National Gallery of Commonwealth of australia for United states$2 million (A$1.3 meg at the time of payment). At the time, this was the highest price always paid for a modern painting. The painting is now one of the near pop exhibits in the gallery.^[seventy] It was a centerpiece of the Museum of Modern Art'due south 1998 retrospective in New York, the starting time time the painting had been shown in America since its buy.

In Nov 2006, Pollock'southward No. 5, 1948 became the earth's nearly expensive painting, when information technology was sold privately to an undisclosed heir-apparent for the sum of United states of america$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 Pavilion at the 1950 Venice Biennale, fetched Usa$11.vii million at Christie's, New York.^[71] In 2012, Number 28, 1951, one of the artist's combinations of drip and brushwork in shades of silverish grayness with ruddy, yellowish, and shots of blueish and white, as well sold at Christie'southward, New York, for United states of america$20.5 million—United states$23 meg with fees—within its estimated range of United states of america$20 meg to U.s.a.$thirty million.^[72]

In 2013, Pollock's Number nineteen (1948) was sold past Christie's for a reported Us$58,363,750 during an auction that ultimately reached Us$495 meg total sales in one dark, which Christie's reports as a record to date every bit the most expensive auction of contemporary art.^[73]

In Feb 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]

Actuality bug [edit]

The Pollock-Krasner Hallmark 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, even so, 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 abstruse painting for five dollars at a thrift store in California in 1992. This work may be a lost Pollock painting, just its authenticity 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 actuality conform before the United States District Court for the Southern District of New York. Done in the painter's classic drip-and-splash style and signed "J. Pollock", the modest-sized painting (15 by 28 1/2 in) was found to incorporate yellowish paint pigments non commercially available until about 1970.^[77] The adapt was settled in a confidential understanding in 2012.^[78]

Fractal figurer assay [edit]

In 1999, physicist and artist Richard Taylor used computer analysis to bear witness similarities betwixt 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".^[lxxx] His enquiry team labelled Pollock's style fractal expressionism.^[81]

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

In 2007, a traveling museum exhibition of the paintings was mounted and was accompanied past a comprehensive book, Pollock Matters, written by Ellen G. Landau, one of the four sitting scholars from the former Pollock Krasner Foundation hallmark panel from the 1990s, and Claude Cernuschi, a scholar in Abstract Expressionism. In the book, Landau demonstrates the many connections between the family who owns the paintings and Jackson Pollock during his lifetime to place the paintings in what she believes to be their proper celebrated 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]} Notwithstanding, the scientist who invented one of the mod pigments dismissed the possibility that Pollock used this pigment as being "unlikely to the point of fantasy".^{[ citation needed ]}

Afterward, over 10 scientific groups have performed fractal assay on over 50 of Pollock'southward works.^{[91] [92] [93] [94] [95] [96] [97] [98] [99] [100]} A 2015 study that used fractal analysis equally 1 of its techniques accomplished 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 take shown that Pollock's fractals induce the same stress-reduction in observers equally 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 afterwards 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 blood brother Jackson.

A separate organisation, 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.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society.^[105]

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

Listing of major works [edit]

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

• (1942) Male and Female person Philadelphia Museum of Art^[106]
• (1942) Stenographic Effigy 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 Modernistic Art^[111]
• (1943) Bluish (Moby Dick) Ohara Museum of Art^[112]
• (1945) Night Mist Norton Museum of Art^[113]
• (1945) Troubled Queen Museum of Fine Arts, Boston^[114]
• (1946) Eyes in the Heat Peggy Guggenheim Collection, Venice^[115]
• (1946) The Fundamental Art Found of Chicago^[116]
• (1946) The Tea Loving cup Drove Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Fine art^[118]
• (1947) Portrait of H.Thousand. University of Iowa Museum of Art, given by Peggy Guggenheim.^[119]
• (1947) Full Fathom 5 Museum of Modern Art^[120]
• (1947) Cathedral Dallas Museum of Art^[121]
• (1947) Enchanted Forest Peggy Guggenheim Collection^[122]
• (1947) Match The Anderson Collection at Stanford University^[123]
• (1947) Sea Alter Seattle Art Museum, given by Peggy Guggenheim^[124]
• (1948) Painting ^[125]
• (1948) Number v (four ft x 8 ft) Private drove
• (1948) Number viii 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, Blackness, Bluish and Ruby-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 10 Museum of Fine Arts, Boston^[129]
• (1949) Number 11 Indiana University Art Museum Bloomington, Indiana^[130]
• (1950) Number ane, 1950 (Lavender Mist) National Gallery of Art^[131]
• (1950) Landscape on Indian red 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) I: Number 31, 1950 Museum of Modern Art^{[136] [137]}
• (1951) Number 7 National Gallery of Art^[138]
• (1951) Blackness and White (Number 6) San Francisco Museum of Modern Art
• (1952) Convergence Albright-Knox Art Gallery^[139]
• (1952) Blueish Poles: No. 11, 1952 National Gallery of Australia^[140]
• (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire State Plaza Art Collection^[141]
• (1953) Portrait and a Dream Dallas Museum of Art^[142]
• (1953) Easter and the Totem The Museum of Modern Art^[143]
• (1953) 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 itemize. New York: The Museum of Modernistic Art. pp. 315–329. ISBN978-0-87070-069-nine.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Modern Art, November 1, 1998 to February 2, 1999, The Tate Gallery, London, March 11 to June 6, 1999: "While it is de rigueur to concentrate on the signature works that define an artist's 'style', it is very important to sympathize its evolution..."
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Further reading [edit]

• Herskovic, Marika (2009). American Abstract and Figurative Expressionism Fashion Is Timely Fine art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York School Press. pp. 127, 196–ix. ISBN978-0-9677994-2-1. 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 Selection by Artists. New York Schoolhouse Press. pp. 18, 38, 278–81. ISBN978-0-9677994-0-7. OCLC 50666793.
• Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Central 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 Modern Art. ISBN978-0-87070-069-9.
• O'Connor, Francis Five. (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 (x): 25–28. doi:10.1088/2058-7058/12/10/21. Archived from the original on August five, 2012. Retrieved September 18, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-6.
• Smith, Roberta (February fifteen, 2002). "Fine art in Review". The New York Times.
• mcah.columbia.edu

External links [edit]

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

Museum links

• Jackson Pollock at the Museum of Modernistic Art
• The Solomon R. Guggenheim Foundation
• Los Angeles County Museum of Fine art (LACMA), Los Angeles, California
• Museum of Gimmicky Fine 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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