Where Did Jackson Pollocks Go to Art School Jackson Pollock Movie

American painter

Jackson Pollock
Studio portrait at near age 16
Born	Paul Jackson Pollock (1912-01-28)January 28, 1912 Cody, Wyoming, U.Due south.
Died	August 11, 1956(1956-08-xi) (aged 44) Springs, New York, U.S.
Didactics	Art Students League of New York
Known for	Painting
Notable work	Number 17A (1948) No. 5, 1948 (1948) Mural on Indian Carmine Basis (1950) Fall Rhythm (1950) Convergence (1952) Bluish Poles (Number 11, 1952) (1952) The Deep (1953)
Movement	Abstract expressionism
Spouse(south)	Lee Krasner ​ (chiliad. 1945)​
Patron(south)	Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August 11, 1956) was an American painter and a major figure in the abstract expressionist movement. He was widely noticed for his "baste 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 entire sail and used the strength of his whole trunk to paint, often in a frenetic dancing style. This extreme class of abstraction divided the critics: some praised the immediacy of the cosmos, while others derided the random effects. In 2016, Pollock's 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 well-nigh of his life. In 1945, he married the creative person Lee Krasner, who became an important influence on his career and on his legacy. Pollock died at the age of 44 in an booze-related single-machine accident when he was driving. In December 1956, four months afterwards 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 work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.^{[1] [two]}

Early life (1912–1936) [edit]

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

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Manual Arts Loftier Schoolhouse,^[6] from which he was expelled. He had already been expelled in 1928 from another high school. During his early on life, Pollock explored Native American civilisation while on surveying trips with his father.^{[3] [7]} He was also heavily influenced by Mexican muralists, particularly José Clemente Orozco,^{[8] [ix]} whose fresco Prometheus he would subsequently call "the greatest painting in Due north America".^[10]

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'southward rural American subject affair had lilliputian influence on Pollock'southward work, merely his rhythmic apply of paint and his violent independence were more lasting.^[three] In the early 1930s, Pollock spent a summer touring the Western U.s. together with Glen Rounds, a boyfriend art student, and Benton, their teacher.^{[11] [12]}

Career (1936–1954) [edit]

Pollock was introduced to the utilize of liquid paint in 1936 at an experimental workshop in New York Metropolis by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as 1 of several techniques on canvases of the early on 1940s, such as Male and Female and Limerick with Pouring I. After his motility to Springs, New York, he began painting with his canvases laid out on the studio floor and he adult what was later chosen his "drip" technique.

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.^[13] During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph L. Henderson and after with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings.^{[14] [15]} Some historians^{[ who? ]} take hypothesized that Pollock might have had bipolar disorder.^[xvi] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the committee to create the 8-by-xx-foot (ii.four past 6.one m) Mural (1943)^[17] for the entry to her new townhouse. At the suggestion of her friend and counselor Marcel Duchamp, Pollock painted the work on sheet, rather than the wall, so that it would be portable. After seeing the big mural, the art critic Clement Greenberg wrote: "I took one look at it and I idea, 'At present that'southward great fine art,' and I knew Jackson was the greatest painter this country had produced."^[eighteen] The catalog introducing his get-go exhibition described Pollock'southward talent equally "volcanic. It has fire. It is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, not yet crystallized."^[19]

Drip period [edit]

Pollock'south most famous paintings were fabricated during the "drip period" between 1947 and 1950. He became famous following an August 8, 1949, four-page spread in Life magazine that asked, "Is he the greatest living painter in the United States?" Thanks to the arbitration of Alfonso Ossorio, a shut friend of Pollock, and the art historian Michel Tapié, the young gallery owner Paul Facchetti, from March 7, 1952, managed to realize the get-go exhibition of Pollock'south works from 1948 to 1951^[20] in his Studio Paul Facchetti in Paris and in Europe.^[21] At the peak of his fame, Pollock abruptly abandoned the baste style.^[22] Pollock's baste paintings were influenced by the artist Janet Sobel; the art critic Cloudless Greenberg would later study that Pollock "admitted" to him that Sobel'due south work "had made an impression on him."^[23]

Pollock'due south piece of work after 1951 was darker in color, including a drove 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 afterward sold ane to a friend at half the toll. These works show Pollock attempting to find a residue between abstraction and depictions of the figure.^[24]

He later returned to using color and continued with figurative elements.^[25] During this catamenia, Pollock had moved to the Sidney Janis Gallery, a more than commercial gallery; the demand for his work from collectors was great. In response to this pressure, forth 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 all the same intrigued with Pollock's 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 building with two witnesses present for the result.^[28] In Nov, they moved out of the city to the Springs area of E Hampton on the southward shore of Long Isle. With the aid of a downwardly-payment loan from Peggy Guggenheim, they bought a woods-frame business firm and barn at 830 Springs Fireplace Road. Pollock converted the befouled into a studio. In that space, he perfected his large "baste" technique of working with pigment, with which he would become permanently identified. When the couple found themselves complimentary from 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'southward fine art was something critics began to reassess by the latter half of the 1960s due to the ascension of feminism at the time.^[30] Krasner's extensive knowledge and training in modernistic art and techniques helped her bring Pollock up to date with what contemporary art should exist. Krasner is ofttimes considered to take tutored her husband in the tenets of modern painting.^{[31] [32]} Pollock was and so able to change his mode to fit a more organized and cosmopolitan genre of modern art, and Krasner became the one judge he could trust.^{[31] [33]} At the starting time of the two artists' spousal relationship, Pollock would trust his peers' opinions on what did or did not work in his pieces.^[33] Krasner was besides responsible for introducing him to many collectors, critics, and artists, including Herbert Matter, who would assistance further his career as an emerging artist.^[34] Art dealer John Bernard Myers once said "at that place would never have been a Jackson Pollock without a Lee Pollock", whereas swain painter Fritz Bultman referred to Pollock as Krasner'south "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock'due south career.^[35]

Jackson Pollock's influence on his married woman's artwork is oftentimes discussed by fine art historians. Many people thought that Krasner began to reproduce and reinterpret her married man'southward chaotic paint splatters in her ain work.^[36] At that place are several accounts where Krasner intended to employ her ain intuition as a mode to move towards Pollock's I am nature technique in order to reproduce nature in her art.^[37]

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

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

Pollock and Krasner'southward relationship began to crumble by 1956, attributable to Pollock's continuing alcoholism and infidelity involving some other artist, Ruth Kligman.^[xl] On August 11, 1956, at x:15 p.1000., Pollock died in a single-machine crash in his Oldsmobile convertible while driving nether the influence of booze. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.^[twoscore] One of the passengers, Edith Metzger, was besides killed in the blow, which occurred less than a mile from Pollock'south home. The other passenger, Ruth Kligman, survived.^[41] In December 1956, iv months afterward 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 piece of work was honored with large-calibration retrospective exhibitions at MoMA and at The Tate in London.^{[1] [ii]}

For the rest of her life, his widow Lee Krasner managed his estate and ensured that Pollock'south reputation remained stiff despite changing art world trends. The couple are buried in 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 chosen alkyd enamels, which at that time was a novel medium. Pollock described this use of household paints, instead of artist'southward paints, as "a natural growth out of a need".^[45] He used hardened brushes, sticks, and even basting syringes equally paint applicators. Pollock'due south technique of pouring and dripping paint is thought to be one of the origins of the term action painting. With this technique, Pollock was able to reach his own signature manner palimpsest paintings, with paints flowing from his called tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension by being able to view and apply paint to his canvases from all directions.^[46]

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

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 large 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 hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this mode I can walk around information technology, work from the four sides and literally be in the painting.

I keep to go further away from the usual painter's tools such equally easel, palette, brushes, etc. I adopt sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign affair added.

When I am in my painting, I'1000 not enlightened of what I'one thousand doing. It is only afterwards a sort of "get acquainted" catamenia that I see what I take been about. I have no fright of making changes, destroying the image, etc., because the painting has a life of its own. I endeavor to let information technology come through. It is only when I lose contact with the painting that the outcome is a mess. Otherwise at that place is pure harmony, an easy requite 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 flooring, Pollock stated, "I experience nearer, more than a part of the painting, since this way I tin can walk round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the Westward."^[53] Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the blow"; he usually had an thought of how he wanted a particular work to announced. His technique combined the movement of his body, over which he had control, the mucilaginous menstruum of paint, the force of gravity, and the absorption of paint into the sheet. Information technology was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would motility energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to run into.

Austrian artist Wolfgang Paalen's commodity on totem art of the indigenous people of British Columbia, in which the concept of infinite in totemist art is considered from an artist'due south bespeak of view, influenced Pollock too; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen'due south magazine (DYN 4–5, 1943). He had also seen Paalen's surrealist paintings in an exhibition in 1940.^[54] Another potent influence must have been Paalen's surrealist fumage technique, which appealed to painters looking for new ways to depict what was called the "unseen" or the "possible". The technique was in one case demonstrated in Matta's workshop, most 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 stage whisper: 'I can do that without the smoke.'"^[55] Pollock's painter friend Fritz Bultman even stated, "Information technology was Wolfgang Paalen who started information technology all."^[56]

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

Photographer Hans Namuth extensively documented Pollock's unique painting techniques

Namuth said that when he entered the studio:

A dripping wet canvas covered the entire floor ... There was complete silence ... Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move effectually the canvass. Information technology was equally if he suddenly realized the painting was not finished. His movements, slow at beginning, gradually became faster and more than dance like as he flung blackness, white, and rust colored paint onto the sheet. He completely forgot that Lee and I were in that location; he did not seem to hear the click of the photographic camera shutter ... My photography session lasted every bit long as he kept painting, peradventure half an hr. In all that time, Pollock did non stop. How could one keep upward this level of activity? Finally, he said "This is it."

Pollock's finest paintings ... reveal that his all-over line does not give rise to positive or negative areas: we are not fabricated to feel that one office of the sail demands to be read as figure, whether abstract or representational, confronting another office of the canvass read every bit footing. At that place is not inside or exterior to Pollock'southward line or the space through which information technology moves. ... Pollock has managed to gratuitous 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 abstruse 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 abased titles and started numbering his works. He said about this, "[50]ook passively and try to receive what the painting has to offering and not bring a discipline matter or preconceived thought of what they are to be looking for." His wife said, "He used to give his pictures conventional titles ... but now he but numbers them. Numbers are neutral. They make people await at a film for what information technology is—pure painting."^[45]

Critical debate [edit]

Pollock's piece of 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 free energy, and therefore meaningless".^[57] Reynold'south News, in a 1959 headline, said, "This is not art—information technology's a joke in bad gustation."^[58] French abstract painter Jean Hélion, on the other manus, remarked on beginning seeing a Pollock, "It filled out infinite going on and on considering information technology did not have a start or finish to it."^[59] Cloudless Greenberg supported Pollock'southward work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in course 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 motion-picture show but an event. The big moment came when information technology was decided to paint 'just to pigment'. The gesture on the sheet was a gesture of liberation from value—political, aesthetic, moral." Many people^{[ who? ]} causeless that he had modeled his "action painter" paradigm on Pollock.^[60]

The Congress for Cultural Freedom, an organization to promote American civilization and values, backed by the Primal Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-wing scholars, including Eva Cockcroft, accept argued that the United States authorities and wealthy aristocracy embraced Pollock and abstract expressionism to place the U.s. in the forefront of global art and devalue socialist realism.^{[58] [61]} Cockcroft wrote that Pollock became a "weapon of the Cold War".^[62]

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

Legacy [edit]

Influence [edit]

Pollock'due south staining into raw sail was adapted by the Color Field painters Helen Frankenthaler and Morris Louis. Frank Stella made "all-over composition" 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'south emphasis on the procedure 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 popular culture and media [edit]

In 1960, Ornette Coleman'southward album Free Jazz: A Commonage Improvisation featured a Pollock painting, The White Calorie-free, as its embrace 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 start seemed almost advanced was a joint venture betwixt Barbra Streisand's Barwood Films and Robert De Niro's TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock). The script, by Christopher Cleveland, was to be based on Jeffrey Potter'due south 1985 oral biography, To a Vehement Grave, a collection of reminiscences by Pollock's friends. Streisand was to play the part of Lee Krasner, and De Niro was to portray Pollock. A second was to exist based on Honey Matter (1974), a memoir past Ruth Kligman, who was Pollock's lover in the six months before his death. This was to be directed past 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 Honour for Best Supporting Actress for her portrayal of Lee Krasner. The movie was the project of Harris, who was nominated for the Academy Award for All-time Actor. Harris himself painted the works seen in the flick.^[67] The Pollock-Krasner Foundation did non authorize or interact 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 now insured for US$140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the auction of the artwork, held by the University of Iowa, to fund scholarships, merely his bill created such controversy that it was rapidly withdrawn.^{[17] [69]}

Fine art market [edit]

In 1973, Number 11, 1952 (too known as Blue Poles) was purchased by the Australian Whitlam regime for the National Gallery of Australia for US$2 million (A$1.3 million at the time of payment). At the time, this was the highest price ever paid for a modernistic painting. The painting is now 1 of the almost popular exhibits in the gallery.^[70] It was a centerpiece of the Museum of Mod Art'due south 1998 retrospective in New York, the first time the painting had been shown in America since its buy.

In Nov 2006, Pollock's No. five, 1948 became the world'southward virtually expensive painting, when information technology was sold privately to an undisclosed heir-apparent for the sum of U.s.a.$140 million. Another artist record was established in 2004, when No. 12 (1949), a medium-sized baste painting that had been shown in the United States Pavilion at the 1950 Venice Biennale, fetched U.s.a.$xi.vii million at Christie's, New York.^[71] In 2012, Number 28, 1951, one of the creative person's combinations of drip and brushwork in shades of silvery greyness with red, yellow, and shots of blue and white, also sold at Christie's, New York, for Usa$20.v million—United states$23 million with fees—within its estimated range of United states of america$20 million to Usa$30 one thousand thousand.^[72]

In 2013, Pollock's Number 19 (1948) was sold by Christie's for a reported US$58,363,750 during an auction that ultimately reached US$495 million total sales in one night, which Christie's reports equally a record to date as the near expensive auction of contemporary art.^[73]

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

Authenticity issues [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, however, the Pollock-Krasner Foundation has declined to be involved in authentication cases.^[76]

In 2006, a documentary, Who the *$&% Is Jackson Pollock? was made concerning Teri Horton, a truck driver who bought an abstruse painting for five 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 million to Pierre Lagrange, a London hedge-fund multimillionaire, was bailiwick to an authenticity accommodate before the United States Commune Courtroom for the Southern Commune of New York. Washed in the painter'southward archetype drip-and-splash fashion and signed "J. Pollock", the pocket-sized-sized painting (fifteen by 28 1/ii in) was found to contain yellow paint pigments not commercially bachelor until about 1970.^[77] The suit was settled in a confidential agreement in 2012.^[78]

Fractal figurer analysis [edit]

In 1999, physicist and artist Richard Taylor used computer analysis to show similarities between Pollock's painted patterns and fractals (patterns that recur on multiple size scales) plant 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 found in a locker in Wainscott, New York. In 2005, The Pollock-Krasner Foundation requested a fractal analysis to exist used for the first fourth dimension in an actuality dispute.^{[82] [83] [84] [85] [86]} Researchers at the University of Oregon used the technique to identify differences between 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 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 book, Pollock Matters, written by Ellen 1000. 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 historic context. Landau also presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in 3 of the 24 paintings.^{[89] [90]} However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this paint as being "unlikely to the signal of fantasy".^{[ citation needed ]}

Subsequently, over 10 scientific groups have performed fractal assay on over 50 of Pollock'south works.^{[91] [92] [93] [94] [95] [96] [97] [98] [99] [100]} A 2015 study that used fractal assay as one of its techniques achieved a 93% success rate distinguishing real from fake Pollocks.^[101] Current inquiry of Fractal Expressionism focuses on man response to viewing fractals. Cognitive neuroscientists accept shown that Pollock'due south fractals induce the aforementioned stress-reduction in observers equally estimator-generated fractals and naturally-occurring fractals.^{[102] [103]}

Archives [edit]

Lee Krasner donated Pollock'south papers to the Archives of American Art in 1983. They were later on archived with her ain 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 as the official estate for both Pollock and his widow, just too under the terms of Krasner's volition, serves "to aid individual working artists of merit with financial need".^[104] The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Club.^[105]

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

List of major works [edit]

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

• (1942) Male person and Female Philadelphia Museum of Art^[106]
• (1942) Stenographic Figure Museum of Modern Art^[107]
• (1942) The Moon Woman Peggy Guggenheim Collection^[108]
• (1943) Mural University of Iowa Museum of Art,^[109] given by Peggy Guggenheim^[110]
• (1943) The She-Wolf Museum of Modern Art^[111]
• (1943) Blue (Moby Dick) Ohara Museum of Art^[112]
• (1945) Night Mist Norton Museum of Art^[113]
• (1945) Troubled Queen Museum of Fine Arts, Boston^[114]
• (1946) Optics in the Heat Peggy Guggenheim Collection, Venice^[115]
• (1946) The Central Fine art Plant of Chicago^[116]
• (1946) The Tea Loving cup Collection Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Art^[118]
• (1947) Portrait of H.Grand. University of Iowa Museum of Art, given by Peggy Guggenheim.^[119]
• (1947) Full Fathom V Museum of Modern Fine art^[120]
• (1947) Cathedral Dallas Museum of Fine art^[121]
• (1947) Enchanted Forest Peggy Guggenheim Collection^[122]
• (1947) Lucifer The Anderson Collection at Stanford Academy^[123]
• (1947) Sea Change Seattle Fine 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 Buy
• (1948) Number 13A: Arabesque Yale University Art Gallery, New Haven, Connecticut
• (1948) Composition (White, Black, Blue and Crimson on White) New Orleans Museum of Art^[126]
• (1948) Summertime: Number 9A Tate Modern
• (1948) "Number 19"^[127]
• (1949) Number 1 Museum of Contemporary Fine art, Los Angeles^[128]
• (1949) Number iii Hirshhorn Museum and Sculpture Garden, Washington, D.C.
• (1949) Number x Museum of Fine Arts, Boston^[129]
• (1949) Number 11 Indiana Academy Art Museum Bloomington, Indiana^[130]
• (1950) Number 1, 1950 (Lavander Mist) National Gallery of Art^[131]
• (1950) Landscape on Indian crimson ground, 1950 Tehran Museum of Gimmicky Fine art^[132]
• (1950) Fall 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 Art^[138]
• (1951) Black and White (Number 6) San Francisco Museum of Modern Fine 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 Art^[142]
• (1953) Easter and the Totem The Museum of Modern Art^[143]
• (1953) Bounding main Greyness Solomon R. Guggenheim Museum^[144]
• (1953) The Deep Centre Georges Pompidou^{[145] [146]}

References [edit]

1. ^ ^{a b} Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog. New York: The Museum of Modern Art. pp. 315–329. ISBN978-0-87070-069-nine.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Modernistic Fine art, November 1, 1998 to February two, 1999, The Tate Gallery, London, March xi to June 6, 1999: "While information technology is de rigueur to concentrate on the signature works that define an creative person's 'style', information technology is very important to empathise its evolution..."
3. ^ ^{a b c d} Piper, David (2000). The Illustrated History of Art. London: Chancellor Printing. pp. 460–461. ISBN978-0-7537-0179-9.
4. ^ Friedman, B.H. (1995). Jackson Pollock : energy made visible (1 ed.). New York: Da Capo Press. p. 4. ISBN978-0-306-80664-iii.
5. ^ ^{a b} Solomon, Deborah (June 26, 2001). Jackson Pollock: A Biography. Cooper Square Printing. pp. 15–sixteen, 21. ISBN9781461624271.
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Further reading [edit]

• Herskovic, Marika (2009). American Abstract and Figurative Expressionism Style Is Timely Fine art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York School Printing. pp. 127, 196–9. ISBN978-0-9677994-2-1. OCLC 298188260.
• Herskovic, Marika (2003). American Abstract Expressionism of the 1950s An Illustrated Survey. New York School Printing. pp. 262–five. ISBN978-0-9677994-1-4. OCLC 50253062.
• Herskovic, Marika (2000). New York School Abstract Expressionists Artists Option by Artists. New York Schoolhouse Printing. pp. 18, 38, 278–81. ISBN978-0-9677994-0-seven. OCLC 50666793.
• Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Key Interviews, Articles and Reviews. Museum of Modern Fine art. ISBN978-0-87070-037-eight.
• Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition itemize. New York: The Museum of Mod Fine art. ISBN978-0-87070-069-9.
• O'Connor, Francis Five. (1967). Jackson Pollock [exhibition catalogue]. New York: Museum of Mod Fine art. OCLC 165852.
• Taylor, Richard; Micolich, Adam; Jonas, David (October 1999). "Fractal Expressionism". Physics World. 12 (10): 25–28. doi:ten.1088/2058-7058/12/x/21. Archived from the original on August v, 2012. Retrieved September xviii, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-six.
• Smith, Roberta (Feb 15, 2002). "Art in Review". The New York Times.
• mcah.columbia.edu

External links [edit]

• Exhibition-'Memories Arrested' 2012
• Pollock-Krasner Business firm and Report Heart
• Pollock-Krasner Foundation
• Pollock and The Law
• National Gallery of Art web characteristic, includes highlights of Pollock'due south career, numerous examples of his work, photographs and motion footage of Pollock, plus an in-depth discussion of his 1950 painting Lavender Mist
• Blue Poles at the NGA
• Fractal Expressionism – the fractal qualities of Pollock'due south 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 Modernistic Art
• The Solomon R. Guggenheim Foundation
• Los Angeles County Museum of Fine art (LACMA), Los Angeles, California
• Museum of Contemporary 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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