Abstract Fgurative Watercolor Modern Art Pinting on Aqua Board

American painter

Jackson Pollock
Studio portrait at about age 16
Built-in	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.Southward.
Educational activity	Fine art Students League of New York
Known for	Painting
Notable piece of work	Number 17A (1948) No. 5, 1948 (1948) Mural on Indian Red Ground (1950) Autumn Rhythm (1950) Convergence (1952) Bluish Poles (Number 11, 1952) (1952) The Deep (1953)
Motion	Abstruse expressionism
Spouse(s)	Lee Krasner ​ (m. 1945)​
Patron(south)	Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – August xi, 1956) was an American painter and a major effigy in the abstract expressionist movement. He was widely noticed for his "drip technique" of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was likewise called all-over painting and action painting, since he covered the unabridged canvas and used the strength of his whole body to paint, often in a frenetic dancing mode. This farthermost class of abstraction divided the critics: some praised the immediacy of the creation, while others derided the random furnishings. 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 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 unmarried-auto accident when he was driving. In December 1956, four months later his death, Pollock was given a memorial retrospective exhibition at the Museum of Modernistic Art (MoMA) in New York City. A larger, more than comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with big-scale retrospective exhibitions at MoMA and at The Tate in London.^{[ane] [2]}

Early 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 upwardly in Tingley, Iowa, and were educated at Tingley High School. Pollock'southward mother is interred at Tingley Cemetery, Ringgold County, Iowa. His begetter had been built-in with the surname McCoy, but took the surname of his adoptive parents, neighbors who adopted him after his own parents had died inside a twelvemonth 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 regime, moving for unlike jobs.^[3] Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager.^[5] In Nov 1912, Stella took her sons to San Diego; Jackson was simply x months old and would never render to Cody.^[five] He subsequently grew up in Arizona and Chico, California.

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Transmission Arts High Schoolhouse,^[6] from which he was expelled. He had already been expelled in 1928 from another loftier school. During his early life, Pollock explored Native American culture while on surveying trips with his father.^{[3] [7]} He was besides heavily influenced by Mexican muralists, particularly José Clemente Orozco,^{[8] [9]} whose fresco Prometheus he would later on phone call "the greatest painting in Due north America".^[10]

In 1930, following his older brother Charles Pollock, he moved to New York City, where they both studied nether Thomas Hart Benton at the Art Students League. Benton's rural American field of study matter had piddling influence on Pollock's work, only his rhythmic use of pigment and his fierce independence were more lasting.^[iii] In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a young man art pupil, and Benton, their teacher.^{[11] [12]}

Career (1936–1954) [edit]

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

From 1938 to 1942 Pollock worked for the WPA Federal Fine 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 Fifty. Henderson and later with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his fine art, encouraging Pollock to brand drawings. Jungian concepts and archetypes were expressed in his paintings.^{[xiv] [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 commission to create the eight-by-20-foot (2.four past 6.1 m) Landscape (1943)^[17] for the entry to her new townhouse. At the suggestion of her friend and counselor Marcel Duchamp, Pollock painted the work on canvas, rather than the wall, and then that it would be portable. After seeing the big mural, the art critic Clement Greenberg wrote: "I took one look at it and I thought, 'Now that's great art,' and I knew Jackson was the greatest painter this state had produced."^[18] The itemize introducing his first exhibition described Pollock'due south talent equally "volcanic. It has burn. It is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, not yet crystallized."^[xix]

Drip period [edit]

Pollock'southward most famous paintings were made during the "drip menstruation" 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 immature gallery owner Paul Facchetti, from March 7, 1952, managed to realize the first exhibition of Pollock's 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 drip way.^[22] Pollock'south drip paintings were influenced by the creative person Janet Sobel; the art critic Clement Greenberg would after report that Pollock "admitted" to him that Sobel's work "had made an impression on him."^[23]

Pollock's piece of work later on 1951 was darker in color, including a collection painted in blackness on unprimed canvases. These paintings have been referred to as his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold i to a friend at half the price. These works show Pollock attempting to find a balance betwixt brainchild and depictions of the figure.^[24]

He later returned to using color and connected 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 force per unit area, 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 run across him following the gallery exhibition.^[27] In Oct 1945, Pollock and Lee Krasner were married in a church with 2 witnesses nowadays for the upshot.^[28] In November, they moved out of the metropolis to the Springs area of Due east Hampton on the s shore of Long Isle. With the assist of a down-payment loan from Peggy Guggenheim, they bought a woods-frame house and barn at 830 Springs Fireplace Route. Pollock converted the befouled into a studio. In that space, he perfected his large "drip" technique of working with paint, with which he would go permanently identified. When the couple constitute themselves complimentary from piece of work they enjoyed spending their time together cooking and baking, working on the house and garden, and entertaining friends.^[29]

Krasner's influence on her husband's 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'south all-encompassing knowledge and training in modern art and techniques helped her bring Pollock up to date with what contemporary art should exist. Krasner is oftentimes considered to have tutored her married man 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 2 artists' union, Pollock would trust his peers' opinions on what did or did not piece of work in his pieces.^[33] Krasner was also responsible for introducing him to many collectors, critics, and artists, including Herbert Matter, who would assist further his career as an emerging artist.^[34] Art dealer John Bernard Myers once said "there would never take been a Jackson Pollock without a Lee Pollock", whereas beau painter Fritz Bultman referred to Pollock as Krasner'south "cosmos, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock'due south career.^[35]

Jackson Pollock'due south influence on his wife's artwork is often discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her husband'due south cluttered paint splatters in her own piece of work.^[36] There are several accounts where Krasner intended to use her own intuition equally a style to move towards Pollock'south I am nature technique in order to reproduce nature in her art.^[37]

Later on years and death (1955–1956) [edit]

In 1955, Pollock painted Scent and Search, his last two paintings.^[38] He did not pigment at all in 1956, only was making sculptures at Tony Smith'southward dwelling: constructions of wire, gauze, and plaster.^[25] Shaped by sand-casting, they have heavily textured surfaces similar to what Pollock often created in his paintings.^[39]

Pollock and Krasner's human relationship began to crumble by 1956, owing to Pollock'south continuing alcoholism and infidelity involving another artist, Ruth Kligman.^[40] On August 11, 1956, at x:15 p.m., Pollock died in a single-car crash in his Oldsmobile convertible while driving under the influence of booze. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.^[40] Ane of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's dwelling. The other rider, Ruth Kligman, survived.^[41] In Dec 1956, four months later on 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 piece of work was held there in 1967. In 1998 and 1999, his piece of work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.^{[ane] [2]}

For the rest of her life, his widow Lee Krasner managed his estate and ensured that Pollock's reputation remained stiff despite changing fine art world trends. The couple are buried in Green River Cemetery in Springs with a big boulder marker 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 constructed resin-based paints called alkyd enamels, which at that time was a novel medium. Pollock described this apply of household paints, instead of artist'southward paints, as "a natural growth out of a demand".^[45] He used hardened brushes, sticks, and even basting syringes as paint applicators. Pollock's technique of pouring and dripping pigment is idea to be one of the origins of the term action painting. With this technique, Pollock was able to achieve his own signature style palimpsest paintings, with paints flowing from his chosen tool onto the sail. By defying the convention of painting on an upright surface, he added a new dimension by being 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) (built-in Jennie Lechovsky).^[47] Peggy Guggenheim included Sobel'southward work in her The Art of This Century Gallery in 1945.^[48] Jackson Pollock and art critic Clement Greenberg saw Sobel's work at that place in 1946 and afterwards 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".^[50]

While painting this way, 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 canvass to the difficult wall or the floor. I need the resistance of a difficult surface. On the floor I am more than at ease. I experience nearer, more than role of the painting, since this way I tin walk around it, work from the four sides and literally be in the painting.

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

When I am in my painting, I'm not aware of what I'm doing. Information technology is merely after a sort of "get acquainted" period that I run across what I have been about. I have no fearfulness of making changes, destroying the paradigm, etc., because the painting has a life of its own. I effort to allow it 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 piece of cake give and accept, 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 feel nearer, more a part of the painting, since this way I can walk circular 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 accident"; he usually had an idea of how he wanted a detail piece of work to announced. His technique combined the movement of his body, over which he had command, the gummy flow of paint, the force of gravity, and the assimilation of pigment into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would motility energetically effectually the canvas, about every bit if in a dance, and would not stop until he saw what he wanted to run across.

Austrian artist Wolfgang Paalen'southward article 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'southward point of view, influenced Pollock besides; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen'due south magazine (DYN iv–5, 1943). He had also seen Paalen's surrealist paintings in an exhibition in 1940.^[54] Some other strong influence must accept been Paalen's surrealist fumage technique, which appealed to painters looking for new means to draw what was called the "unseen" or the "possible". The technique was once demonstrated in Matta'southward workshop, about which Steven Naifeh reports, "One time, when Matta was demonstrating the Surrealist technique [Paalen'southward] Fumage, Jackson [Pollock] turned to (Peter) Busa and said in a phase whisper: 'I can do that without the fume.'"^[55] Pollock'southward painter friend Fritz Bultman fifty-fifty stated, "Information technology was Wolfgang Paalen who started it all."^[56]

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

Photographer Hans Namuth extensively documented Pollock'south 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. And then, unexpectedly, he picked upwardly can and pigment brush and started to movement around the canvas. It was as if he suddenly realized the painting was non finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the sail. He completely forgot that Lee and I were at that place; he did not seem to hear the click of the photographic camera shutter ... My photography session lasted as long as he kept painting, perhaps half an hour. In all that fourth dimension, Pollock did not stop. How could 1 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 rise to positive or negative areas: we are non made to feel that one office of the canvas demands to be read equally figure, whether abstruse or representational, against some other office of the canvas read every bit footing. In that location is not inside or outside to Pollock'southward line or the infinite through which it moves. ... Pollock has managed to gratuitous line not but from its function of representing objects in the world, but as well from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.

—Karmel, 132

From naming to numbering [edit]

Standing to evade the viewer'southward search for figurative elements in his paintings, Pollock abandoned titles and started numbering his works. He said about this, "[L]ook passively and try to receive what the painting has to offer and non bring a subject matter or preconceived idea of what they are to exist looking for." His wife said, "He used to requite his pictures conventional titles ... only at present he simply numbers them. Numbers are neutral. They make people look at a picture for what it is—pure painting."^[45]

Critical debate [edit]

Pollock's work has been the subject of important critical debates. Critic Robert Coates one time derided a number of Pollock'southward works as "mere unorganized explosions of random free energy, and therefore meaningless".^[57] Reynold's News, in a 1959 headline, said, "This is not art—it'due south a joke in bad gustatory modality."^[58] French abstract painter Jean Hélion, on the other mitt, remarked on first seeing a Pollock, "Information technology filled out space going on and on because information technology did not have a starting time or end to it."^[59] Clement Greenberg supported Pollock'due south work on formalistic grounds. It fit well with Greenberg's view of fine art history every bit a progressive purification in form and emptying of historical content. He considered Pollock's 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 show simply an event. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral." Many people^{[ who? ]} causeless that he had modeled his "action painter" epitome on Pollock.^[60]

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

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

Legacy [edit]

Influence [edit]

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

In 2004, I: Number 31, 1950 was ranked the 8th-most influential piece of modern art in a poll of 500 artists, curators, critics, and dealers.^[65]

In pop culture and media [edit]

In 1960, Ornette Coleman's album Gratis Jazz: A Commonage Improvisation featured a Pollock painting, The White Light, equally its embrace artwork.

In the early on 1990s, three groups of motion-picture show makers were developing Pollock biographical projects, each based on a different source. The project that at beginning seemed most advanced 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, past Christopher Cleveland, was to be based on Jeffrey Potter'due south 1985 oral biography, To a Tearing Grave, a collection of reminiscences by Pollock'southward friends. Streisand was to play the function of Lee Krasner, and De Niro was to portray Pollock. A 2nd was to be based on Dearest Affair (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months before his expiry. This was to exist 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 Honor for Best Supporting Actress for her portrayal of Lee Krasner. The motion-picture show was the project of Harris, who was nominated for the Academy Honour for All-time Player. Harris himself painted the works seen in the film.^[67] The Pollock-Krasner Foundation did non authorize or interact with any product.^[66]

In September 2009, the art historian Henry Adams claimed in Smithsonian mag that Pollock had written his proper noun in his famous painting Mural (1943).^[68] The painting is now insured for The states$140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held past the Academy of Iowa, to fund scholarships, simply his bill created such controversy that it was quickly withdrawn.^{[17] [69]}

Art market [edit]

In 1973, Number eleven, 1952 (also known as Blue Poles) was purchased by the Australian Whitlam government for the National Gallery of Australia for U.s.a.$2 1000000 (A$one.3 million at the time of payment). At the fourth dimension, this was the highest price ever paid for a modern painting. The painting is now one of the most popular exhibits in the gallery.^[70] It was a centerpiece of the Museum of Modern Art'southward 1998 retrospective in New York, the start fourth dimension the painting had been shown in America since its purchase.

In November 2006, Pollock'due south No. 5, 1948 became the globe's almost expensive painting, when it was sold privately to an undisclosed buyer for the sum of Usa$140 million. Another creative person tape was established in 2004, when No. 12 (1949), a medium-sized drip painting that had been shown in the Usa Pavilion at the 1950 Venice Biennale, fetched US$11.7 million at Christie's, New York.^[71] In 2012, Number 28, 1951, one of the creative person's combinations of drip and brushwork in shades of silvery grey with red, xanthous, and shots of blue and white, also sold at Christie's, New York, for United states of america$twenty.v million—US$23 million with fees—within its estimated range of U.s.$20 million to U.s.$30 million.^[72]

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

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

Authenticity issues [edit]

The Pollock-Krasner Authentication Lath was created by the Pollock-Krasner Foundation in 1990 to evaluate newly establish works for an upcoming supplement to the 1978 catalogue.^[75] In the past, however, the Pollock-Krasner Foundation has declined to be involved in hallmark cases.^[76]

In 2006, a documentary, Who the *$&% Is Jackson Pollock? was made concerning Teri Horton, a truck driver who bought an abstract painting for v dollars at a austerity shop in California in 1992. This work may be a lost Pollock painting, merely 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 before the United States District Court for the Southern Commune of New York. Washed in the painter'due south classic drip-and-splash style and signed "J. Pollock", the modest-sized painting (xv by 28 1/ii in) was institute to comprise yellow pigment pigments not commercially bachelor until nearly 1970.^[77] The suit was settled in a confidential agreement in 2012.^[78]

Fractal computer 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) found in natural scenery,^[79] reflecting Pollock'southward own words: "I am nature".^[80] His research team labelled Pollock's style fractal expressionism.^[81]

In 2003, 24 Pollockesque paintings and drawings were found in a locker in Wainscott, New York. In 2005, The Pollock-Krasner Foundation requested a fractal assay to exist used for the kickoff 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 six disputed paintings analyzed and those in 14 established Pollocks.^[82] Pigment assay 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 bachelor in Pollock's lifetime.^{[87] [88]}

In 2007, a traveling museum exhibition of the paintings was mounted and was accompanied by a comprehensive volume, Pollock Matters, written by Ellen Thousand. Landau, one of the iv sitting scholars from the former Pollock Krasner Foundation authentication panel from the 1990s, and Claude Cernuschi, a scholar in Abstruse Expressionism. In the book, Landau demonstrates the many connections betwixt the family who owns the paintings and Jackson Pollock during his lifetime to identify the paintings in what she believes to be their proper celebrated 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] [xc]} Withal, the scientist who invented ane of the modern pigments dismissed the possibility that Pollock used this paint equally being "unlikely to the point of fantasy".^{[ commendation needed ]}

Later on, over 10 scientific groups have performed fractal analysis on over l of Pollock's works.^{[91] [92] [93] [94] [95] [96] [97] [98] [99] [100]} A 2015 report that used fractal analysis as one of its techniques accomplished a 93% success rate distinguishing real from simulated Pollocks.^[101] Current inquiry of Fractal Expressionism focuses on human response to viewing fractals. Cognitive neuroscientists have shown that Pollock's fractals induce the aforementioned stress-reduction in observers as computer-generated fractals and naturally-occurring fractals.^{[102] [103]}

Archives [edit]

Lee Krasner donated Pollock'south papers to the Athenaeum of American Fine art in 1983. They were after archived with her own papers. The Archives of American Fine art also houses the Charles Pollock papers, which include correspondence, photographs, and other files relating to his blood 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, but also under the terms of Krasner's volition, 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 Social club.^[105]

The Pollock-Krasner House and Studio is owned and administered by the Stony Brook Foundation, a nonprofit affiliate of Stony Beck Academy. 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 effect of being his primary painting surface from 1946 until 1953

• (1942) Male and Female Philadelphia Museum of Art^[106]
• (1942) Stenographic Figure Museum of Modernistic Fine art^[107]
• (1942) The Moon Woman Peggy Guggenheim Drove^[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) Bluish (Moby Dick) Ohara Museum of Art^[112]
• (1945) Nighttime Mist Norton Museum of Art^[113]
• (1945) Troubled Queen Museum of Fine Arts, Boston^[114]
• (1946) Eyes in the Heat Peggy Guggenheim Drove, Venice^[115]
• (1946) The Key Art Institute of Chicago^[116]
• (1946) The Tea Cup Drove Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modernistic Art^[118]
• (1947) Portrait of H.K. University of Iowa Museum of Art, given past Peggy Guggenheim.^[119]
• (1947) Total Fathom Five Museum of Modernistic Art^[120]
• (1947) Cathedral Dallas Museum of Art^[121]
• (1947) Enchanted Forest Peggy Guggenheim Collection^[122]
• (1947) Lucifer The Anderson Collection at Stanford University^[123]
• (1947) Ocean Alter Seattle Art Museum, given by Peggy Guggenheim^[124]
• (1948) Painting ^[125]
• (1948) Number v (4 ft x viii ft) Individual drove
• (1948) Number viii Neuburger Museum at the Country University of New York at Buy
• (1948) Number 13A: Arabesque Yale University Fine art Gallery, New Haven, Connecticut
• (1948) Composition (White, Blackness, Blue and Red on White) New Orleans Museum of Fine art^[126]
• (1948) Summer: Number 9A Tate Modern
• (1948) "Number 19"^[127]
• (1949) Number ane Museum of Contemporary Art, Los Angeles^[128]
• (1949) Number three 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 1, 1950 (Lavander Mist) National Gallery of Art^[131]
• (1950) Mural on Indian crimson ground, 1950 Tehran Museum of Contemporary Fine art^[132]
• (1950) Autumn Rhythm (Number 30), 1950 Metropolitan Museum of Art^[133]
• (1950) Number 29, 1950 National Gallery of Canada^[134]
• (1950) Number 32, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, BRD^[135]
• (1950) One: Number 31, 1950 Museum of Modern Art^{[136] [137]}
• (1951) Number seven National Gallery of Art^[138]
• (1951) Black and White (Number six) San Francisco Museum of Modern Art
• (1952) Convergence Albright-Knox Fine 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 Modernistic 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 Mod Fine art. pp. 315–329. ISBN978-0-87070-069-nine.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Mod Fine art, Nov 1, 1998 to February 2, 1999, The Tate Gallery, London, March 11 to June vi, 1999: "While it is de rigueur to concentrate on the signature works that define an artist's 'fashion', it is very important to understand its evolution..."
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. four. ISBN978-0-306-80664-3.
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Further reading [edit]

• Herskovic, Marika (2009). American Abstract and Figurative Expressionism Style Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York Schoolhouse Press. pp. 127, 196–nine. ISBN978-0-9677994-two-1. OCLC 298188260.
• Herskovic, Marika (2003). American Abstract Expressionism of the 1950s An Illustrated Survey. New York School Press. pp. 262–5. ISBN978-0-9677994-1-four. OCLC 50253062.
• Herskovic, Marika (2000). New York School Abstract Expressionists Artists Pick by Artists. New York School Press. pp. 18, 38, 278–81. ISBN978-0-9677994-0-7. OCLC 50666793.
• Karmel, Pepe; Varnedoe, Kirk, eds. (1999). Jackson Pollock: Key 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 Fine art. OCLC 165852.
• Taylor, Richard; Micolich, Adam; Jonas, David (October 1999). "Fractal Expressionism". Physics World. 12 (x): 25–28. doi:10.1088/2058-7058/12/10/21. Archived from the original on August 5, 2012. Retrieved September eighteen, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-6.
• Smith, Roberta (Feb 15, 2002). "Art in Review". The New York Times.
• mcah.columbia.edu

External links [edit]

• Exhibition-'Memories Arrested' 2012
• Pollock-Krasner House and Study Center
• Pollock-Krasner Foundation
• Pollock and The Law
• National Gallery of Art web characteristic, 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'southward 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 Mod Art
• The Solomon R. Guggenheim Foundation
• Los Angeles County Museum of Art (LACMA), Los Angeles, California
• Museum of Contemporary Art (MOCA), Los Angeles, California
• Jackson Pollock at the Israel Museum, Jerusalem

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

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