The embodiment of modernity through literature as well as artwork was extremely prevalent during this modern era. It represents the foundations of the way we live our lives today and shows the rapid shift in capitalism, innovation and overall ways of thinking. Modernity forged the nation forward for the better and reordered the way Americans lived their day to day lives. Moreover, artwork such as ‘Convergence’ by Jackson Pollock exemplifies an overall movement towards freedom and free-thinking which can be supported by works of Beatrice Hinkle and F. Scott Fitzgerald.
To begin, the painting ‘Convergence’, even with just the name, is very revealing of what it was trying to represent. The literal definition of convergence is the integration or coming together of two entities. This piece of artwork consists of many sporadic lines of red, blue, orange and black which shows overall chaos but surprisingly also shows togetherness with no odd or out of place areas. It seems Pollock wanted to create something with a lot of movement and expression behind it to make noise in regards to some of the constraints of society oppressions. This is a representation of modernity because Pollock was challenging the status quo and wanted to fight for freedom of expression and speech which were constantly under threat during this time.
‘The Re-Creating of the Individual’ by Beatrice Hinkle exemplifies similar ideas more in relation to gender and sexuality as a source of power where she discusses women’s susceptibility and reliance on men which had been engraved in society’s roles for so long. However, she also discusses the slow progression women have made and the strides they have taken to claim their freedom, such as: “With the revolt of women against the old restrictions and the demand for freedom to experience for themselves, there has appeared a most significant phase of the changed morality – the new relation of women toward each other”. This furthers the meaning behind Pollock’s ‘Convergence’ because women finally had the strength to rebel against society’s restrictions and really start a movement of empowerment and support for each other – to fulfil each other’s lives for themselves and not just for men. While the roles of women still seem to be challenged today, this era allowed them to advance their own sense of freedom of expression and ultimately helped aid them in this shift for equality and new morality.
In addition, ‘The Great Gatsby’ by F. Scott Fitzgerald also highlights many important aspects of modernity that help further the thought behind Pollock’s ‘Convergence’. He emphasizes various themes having to do with this era such as society, class, the American Dream, etc. This is illustrated throughout his fragmented text where the reoccurrence of the American Dream symbolism for example, is extremely prevalent. Within the first chapter, Nick says: “The Carraways are something of a clan, and we have a tradition that we’re descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfather’s brother, who came here in fifty-one, sent a substitute to the Civil War, and started the wholesale hardware business that my father carries on to-day”. He creates a success story of his family’s entrepreneurship, which in turn, enabled them to achieve the American Dream of wealth and the road to nobility through lots of hard work. This is a more structured way of thinking of freedom of expression as Pollock’s ‘Convergence’ represents, but this form of modernity is something people today definitely still search and strive for.
Altogether, the ideas formed during this time opened up the world to a whole new set of possibilities and ways of thought the nation had never been allowed prior to modernity. Artwork and literature that was created in the midst of this era is able to give us a peek into the origination of many forward-thinking ideas and ways of life. Modernity overall is something that has definitely manifested itself into our world today and ultimately gave society a necessary push to the future for generations to come.
Works Cited
F. Scott Fitzgerald. (1925). ‘The Great Gatsby’. Retrieved October 27, 2019 from Course Reserves.
Hinkle, Beatrice. (1930). ‘The New Morality’. From ‘The Re-Creating of the Individual’. Retrieved October 27, 2019 from Course Reserves.
Jackson Pollock is an innovative painter whose artistic works are presented in an expressionist manner. His paintings are always saturated with splashes of unexpected colors that swallow the viewers’ attention and make them go deeper into their observations. While analyzing his work called Convergence, the difficulty of interpretation and impossibility to predict motifs provides fresh insight into the innovative development of history painting in the second half of the past century.
One of the most persuasive arguments in favor of this judgment is the fact that Pollock’s techniques allow accepting the canvas as a flow of artistic energy shaping a frenetic surface. The second reason for assigning uniqueness to the painting is confined with the ability of the painter to combine and embrace different colors to convey the motion, depth, and stillness at the same time.
According to Cohn (2008), the uniqueness and innovative techniques used by Pollock provide a glance into an in-depth meaning of the painting itself. Indeed, the artists’ work is not based on concrete motifs from life, but highlight the actual purpose of painting being a sophisticated mixture of lights, shadows, forms, and colors. Hence, Cohn (2008) describes the way Pollock paints, “…dipping a long stick into a gallon can of house paint, he let the drips fall where they may as he danced around the outstretched canvas lying on the floor, making patterns guided by instinct alone” (p. 101).
To support the idea, Emmerling (2003) emphasizes that “Pollock figured as a prime representative of a Western art that permitted freedom of individual expression, in contrast to the regimented, party-line art practiced behind the Iron Curtain” (p. 86). Overall, the presented painted fits into the era when the Expressionist movement sought to oppose the limited outlooks on art and expression.
References
Cohn, S. (2008). Why We Look at Art, What Happens When We Do. US: Dog Ear Publishing.
Emmerling, L. (2003). Jackson Pollock: 1912-1956. US: Taschen.
All artists have their unique techniques to reveal their vision, their ideas. Milton Resnick also had a very specific technique. The artist even referred to his style as somewhat ridiculous (NordschleifeGray). Nonetheless, he claimed that he managed to capture motion, to capture images, and even ideas. Notably, Resnick’s attitude towards the canvas was somewhat similar to the attitude of another talented artist, Jackson Pollock.
Thus, while working on his painting, Resnick notes that he needs to see the entire picture. The artist recollects the big painting he once worked on. This was the time when he realized that if he needed to move back to see the whole thing, he simply could not paint the work (NordschleifeGray). Milton Resnick admits that this is a simple rule to follow, and he never breaks this rule. He needs to be able to ’embrace’ the work to see where he is moving.
Likewise, Jackson Pollock needed to ’embrace’ his works. The artist put his works on the floor to be able to reach any part of it or even to be inside the paper (Sayre 161). Pollock walked around the painting, and he wanted to be able to work on it from the four sides. Of course, the artist needed to see the whole thing as well. The development of the painting had to be observable for both artists. Basically, the two artists needed to perceive the painting as a whole. They could not divide it into sectors as every painting was a whole universe for them.
Interestingly, the two artists had quite similar attitudes towards paints. It is even possible to say that their techniques were quite similar. Both artists argued that paint itself showed the way to work. Pollock used to say that the brush was a kind of continuation of his hand. He also noted that he did not mind images he wanted to reveal the motion of paint. Likewise, Resnick did not care about particular images. He only wanted to reveal some ideas, some colors. Resnick had a very interesting method. He was looking for some beginning and did not mind if his work changed totally. He followed the motion of color. The color set up certain rules, and Resnick eagerly followed those rules. The artists also had a very special attitude towards color. He once said that the color did not have to be bright (NordschleifeGray). The artist added that he understood that he did not fully understand the color. This may be the reason why he let the color lead him.
Finally, both artists did not use sketches. They started painting when they had one idea in their heads. They had some image or, more likely, some idea to start with, and they let their painting develop. Resnick noted that such a technique could be seen as absolutely “ridiculous” (NordschleifeGray). However, he added that this was the technique he had been using for several decades quite successfully.
To sum up, Milton Resnick, as well as Jackson Pollock, had a very special vision. The two artists perceived their works as a whole. They did not work on too big paintings, i.e., canvases which could not be reached from all sides. They used colors to reveal their ideas. More so, they let the color tell stories. They did not use sketches or plans as they simply revealed their ideas and emotions. They did not want to restrict themselves and art.
Works Cited
Sayre, Henry M. A Word of Art. Upper Saddle River, NJ: Pearson Prentice Hall, 2007. Print.
NordschleifeGray. Milton Resnick Part 1. YouTube, 2011. Web. 2012.
Pollock’s painting Blue Poles, also known as Number 11, 1952, glorified its author as an abstract expressionist. It is written on canvas with enamel and aluminum paint with glass (Pollock, 1952). The artist introduced a radically new style and surprised people. This style is still incomprehensible to part of the audience and is perceived critically. Moreover, the painting has a controversial history of creation but paved the way for bold and innovative actions in art (National Gallery of Australia (NGA), 2018). Even though the canvas seems careless, its elements are carefully thought out.
Blue poles, at first glance, may seem like a work of no value, like inked canvas. However, a detailed study of the picture showed fractal nature in patterns, thereby proving the painting’s value (Alvarez-Ramirez et al., 2019; Messham-Muir, 2015). Thoughtful and accurate patterns, their complexity in composition also indicates that Pollock entirely painted the picture despite suspicions of other artists’ involvement (NGA, 2018). According to Wolfe (n.d.), the formation of such a drip-style of the artist was influenced by World War II events. Unable to reflect on all the horrors of the war or facing a creative impasse after the horrible events, artists could not engage in fine art. Pollock, in turn, came up with “action painting,” which gave him freedom in expression (Wolfe, AD). The technique became popular, revealing a new art page.
Blue poles are also a reflection of the artist’s internal state. According to Messham-Muir (2015), the picture is a psychological manifestation, while the artist suffered from depression at that time. I would like to share the approach of Messham-Muir (2015), not asking typical questions about whether everyone can do such a thing but considering the context and what the artist puts into his work. Although these connections do not relate to my life, I believe that events like those that influenced Pollock are essential. War, or other traumatic circumstances such as terrorism, are reflected in the internal state of people. As a result, the artist suffered from depression, and in other people, such confusion can cause similar disorders. The picture simultaneously reflects the entanglement of life, trauma, consciousness, and chaos.
This work was not censored by the government, as its controversy is manifested in style and not in the image. Censorship is a rather matter of dispute as it may limit creativity and its manifestations, and for this reason, its application to art, I consider unjustified. However, the role in this issue is also played by the division of what is an art and what is not. For example, the use of artists and their works for propaganda and manipulation can be limited through censorship.
Thus, the Blue Poles created by Jackson Pollock demonstrate his unique style, his invention of “action painting.” The significance and influence of the painting are that thanks to an innovative approach, it inspired other artists to be bold in their work. Moreover, the new style helped the creators move on after the traumatic events of World War II. According to Martin and Jacobus (2018), real art should be a revelation, which distinguishes it from artlike pieces. I believe that having evaluated the context in which the picture was created and its significance, the Blue Poles meet this requirement and is an example of art. Its value and importance are also confirmed by Messham-Muir (2015), Wolfe (n.d.), and Alvarez-Ramirez et al. (2019). The meaning that the audience can see in the painting also makes it a critical subject of art.
References
Alvarez-Ramirez, J., Rodriguez, E., Martinez-Martinez, F., & Echeverria, J. C. (2019). Fractality of Riopelle abstract expressionism paintings (1949–1953): A comparison with Pollock’s paintings. Physica A: Statistical Mechanics and its Applications, 526, 1-12. Web.
Martin, F. D., & Jacobus, L. A. (2018). The humanities through the arts. New York: McGraw-Hill Education.
Messham-Muir, K. (2015). Here’s looking at: Blue poles by Jackson Pollock. The Conversation. Web.
National Gallery of Australia (NGA). (2018). Painted by drunks! Medium. Web.
Pollock, J. (1952). Blue poles (Number 11, 1952) [painting]. National Gallery of Australia (NGA), Canberra, Australia.
Wolfe, S. (n.d.). Stories of iconic artworks: How Jackson Pollock’s Blue Poles caused an uproar in Australia. Artland. Web.
Numerous museums across the USA present a massive volume of artistic works illustrating the development of art both domestically and globally. In particular, the Seattle Art Museum is a well-known reputable institution that owns and displays multiple prominent works of earlier historical periods and modernity. The building of the museum, its exterior, and interior strike a visitor with grand structures, unconventional designs, and space. Being submerged into the atmosphere of light and spacious halls of the museum, one is instantly exposed to an aesthetic experience. One of the most prominent works presented in the Seattle Art Museum is Jackson Pollock Sea Change paint.
The story that connects the painting to the museum is fascinating. It presents an important decision of key stakeholders that enabled the only Pollock’s painting in Washington State to be stored in the Seattle Art Museum (Seattle Art Museum, 2014). In 1958, this piece was donated to the Seattle Art Museum by an art dealer and patron, Peggy Guggenheim, the person who launched Pollock’s career in the 1940s (“Sea Change,” 2021). The painting impresses the viewer with its multiple physical and conceptual levels that align with Pollock’s style and trigger spectators’ reflection. The present paper aims at critically analyse Sea Change by Jackson Pollock from the perspectives of the medium characteristics, historical context, interpretive approaches, and biographical impact.
Artwork Identification
The analyzed artwork title Sea Change was created by an American abstract expressionist Jackson Pollock in 1947. The medium of this artwork is a painting created using oil paint, with gravel, on canvas. The dimensions of the painting are 57 7/8 x 44 1/8 in. (147 x 112.1 cm) (“Sea Change,” 2021). The painting does not present a comprehensive visual matter such as an object, a landscape, or a figure. Instead, the artist uses abstract expressionist te4chniques to layer multiple colors of paint on the canvas. The analysts and interpreters of Pollock’s work at the Seattle Art Museum emphasize that the painting was created in two stages. Firstly, Pollock applied colorful paints of the canvas using conventional brush technique with canvas in a vertical position. It is seen that light-blue and salmon-red colors are dominating in the background (Seattle Art Museum, 2014). After that, the artist applied his style-indicating technique of dripping paint in motion with canvas placed on the floor. The colors of the thickly applied lines and curves on the surfaces of the first payer of the painting are black and dark brown. In addition, the black and dark-blue colors are contrasted with aluminum paint that is also applied on top of the painting made with a brush and oil.
A distinctive feature of the painting, which is observed in many other works of the artist, is the meticulous placement of gravel pieces into the thick dark paint (“Sea Change,” 2021). It creates texture and enhances the intentions of the artist to illustrate the unity of art with the realistic world of nature. Being a big picture, although relatively small in comparison with other prominent pieces of the artist, the painting provides viewers with an opportunity to perceive the image as a whole as well as in detail. When viewed attentively, the picture unveils the two layers of paint. The front myriad of web-like stripes and lines made in thick dark paint and gravel seems to be a veil that covers a bright and tempting picture underneath it.
Analysis of Visual Elements and Design Principles
Although the artist does not illustrate a matter in his painting as implied by abstractionism and expressionism, several pivotal elements of art allow the painter to reach his audience. The most important and central visual element in Sea Change is color. Indeed, the intricate interplay of bright blues, pinks, greens, oranges, and yellow on the background of the painting is obscured and contrasted with the silver, dark-brown, and black colors of the surface paint (Clyfford Still Museum, 2016). The values are created at the intersection of several colors. The elements of shape and form do not apply to this painting because it seems to reach beyond these limiting notions. Instead, the artist pursues infinity and metamorphic representation of his ideas by means of abstractionism (Opreanu, 2017).
The other two key elements in the painting are space and texture. Both are implemented with unconventional techniques; they create a multilevel depth to the surface of the canvas. Two layers of paint and the adding of gravel and other objects into the paint allow for the top layer to protrude, while the bottom one is to be presented as if at a distance. In such a manner, the artist creates a sense of depth and space using two levels of paint applied in different techniques. In addition, the spatial and depth characteristics are emphasized by the texture enhanced by gravel. Finally, lines are used freely with curves and turns, which are inherent in the dripping technique dominating the painting. Straight lines and shape-like images are implied from the fragmented pieces of the background picture that might be partially seen between the surface lines.
As for the principles of design that Jackson Pollock used when creating Sea Change, there are several that play a decisive role in the overall image. The most dominant one is the contrast that is achieved by combining light-silver aluminum paint with dark-brown and black. Also, the background interplay of colors is impacted by the contrast, which creates more depth and brightness of the artwork (Clyfford Still Museum, 2016). In terms of balance, there seems to be an asymmetric representation of the image with no intentional focal point. However, since the whole surface of the painting is covered with dripped paint, the overall artwork provides a sense of balance.
Gradually applied layers of dark colors and the addition of gravel create an atypical sense of rhythm and movement. In particular, the movement as a design principle is implied in the strokes and paint application techniques used by Jackson Pollock. When the eye follows the intricate traces of dripped paint, it stumbles over background images that contain geometrical figures, eyes, and other vaguely noticeable details (Clyfford Still Museum, 2016). The artist seems to intentionally avoid using the principle of pattern and emphasis to encourage viewers to be free in interpreting the expressiveness of the author.
Contextual Analysis of the Artwork
When analyzed within the context of the overall domain of Jackson Pollock’s works, Sea Change might be characterized as a transitioning piece. Indeed, as stated on the webpage of the Seattle Art Museum, in 1947, Pollock was at the beginning of his “dripping period,” where his work is characterized by an intersection of conventional application techniques and revolutionary style-defining ones (“Sea Change,” 2021, para. 1). Nonetheless, despite the impact of the transitioning period that provided a background for such complexity in the painting, the artwork logically fits into the array of paintings created according to the abstract expressionism style. While there is no vivid connection between the painting and the social, historical, or political context, there is a particular correlation with the artist’s personality.
As the author of Sea Change stated in one of his interviews, he intended to apply his dripping technique with horizontal canvas placement in combination with foreign matter used to be in the painting. In such a manner, Jackson Pollock was able to “express … feelings rather than illustrate them” (“Sea Change,” 2021, para. 5). In addition, as the title of the painting implies, the change is emphasized. Probably, the change in the style of the artist was overshadowed by the sea change that he wanted to portray in his painting. As stated by Opreanu (2017), the title of the painting was inspired by the poem written by Shakespear, where the forces of the ocean are illustrated. When placed in this context, the painting obtains a more structured interpretive perspective where the black stripes represent the surface of the water while the underlying painting is the obscured bottom of the ocean. Similarly, the gravel, glass, and other foreign matter placed on the top of the painting might represent the particles in the water as brought to the surface by a storm symbolizing change.
Interpretation of the Painting
I was fascinated by the painting when I first saw it. The depth and the contrast of colors create an illusion of presence, which the artist was so fond of. The obscured image in the background might symbolize the clarity of feelings and mind, while the layers of debris and a web of black lines represent the darkness of uncertainty. Since abstract expressionism is particularly involved with emotions and metaphysics, the painting appeals to the viewer’s internal experiences of self-knowledge. On the other hand, the metamorphosis implied by the word change in the title might refer to the mixture of two worlds at the intersection of transitioning from one stage to another.
Again, the uncertainty and vagueness of the image reflect the reality of life where there are no direct answers, and everything is subject to interpretation. Overall, in my opinion, the painting has an educational or developmental goal in addition to the aesthetic one. In particular, despite giving a visual pleasure of observing the interplay of color, texture, and lines, Pollock encourages the viewers to engage in the process of perception and search for detail. In such a manner, one is taught to reflect and emphasize one’s insights while experiencing art.
Evaluation and Conclusion
Given the analysis of the multiple attributes of the piece of art, one might conclude that the painting is a complex and aesthetically pleasing work of art. While no matter is precisely depicted in full form or shape, the uniqueness of Jackson Pollock’s dripping technique in combination with a conventional oil paint application creates an illusion of uncertainty of transition or change. The artist’s intention to express his feelings was communicated to the viewers through the complexity of techniques and the interplay of color, texture, depth, and contrast. This is one of the most valuable examples of the American abstract expressionist works that possess a depth of imagery and meaning by providing viewers with aesthetic quality.
Opreanu, L. (2017). Full fathom five a whole world lies: Shakespeare, Pollock and beyond. Analele Universităţii Ovidius din Constanţa. Seria Filologie, 28(1), 36-47.
Born in 1912, Jackson Pollock is a renowned American legendary art critic. His dazzling art magic has been recognized by different personalities all around the universe. The art genius from a family of five brothers was married to Lee Krasner. Pollock has been well known for his starling performance in painting, which has influenced many people differently. Some of his influential pieces of art include Mural, Untitled, and The She-Wolf amongst others.
In fact, Mural, which is one of his unique pieces of art, was a design for his entrance hall that was executed in a single day. The design inspired millions of people since it was the biggest and the very first artwork that came up following much creativity from Pollock. However, one would wish to know what inspired Pollock to come up with this appealing artwork. In response, the inspirational design came after Pollock had been influenced by some of the amazing techniques and intelligence employed by his Mexican muralists counterparts-Diego Rivera, David Alfaro, and Orozco, just to mention a few.
In fact, The Independent posits, “he was successful long before his death and even a bona fide celebrity of the art world” (Para. 7). Specifically, his 20-foot-wide composition design was because of his influence by Orozco’s Larger than Life Scale. Orozco’s influence is clearly seen on Pollock’s work at the hood where he uses snakes and skull images just like in Orozco’s work. Despite being challenged by colleagues, Pollock had unique styles of his own, which made him an outstanding critic in the game. Drip painting, which stands out as one of the painting techniques used by Pollock, made expert use of purified water to spot cleanliness in his artwork rather than using cotton soaked in saliva, which was used regularly on other artistic designs.
The style was employed in his almost all his artworks thus making them fascinating pieces of art for journalists, scholars, researchers, and other artists all around the world. Apart from the drip style, Pollock also used obscured and disguised techniques that attracted the eyes of many people. The combination of these techniques resulted in a densely composed and a fatal-to-read piece: The Bald Women. Pollock’s work has been an inspiration and a source of knowledge to humankind in all aspects of life.
As Bates points out, Pollock’s “1949 Life magazine article…shot the artist to fame” (1). In his artwork, he meant to communicate to the society about various issues affecting it ranging from insecurity, poverty, and corruption among others. He focused on showing the society its real image as reflected in the mirror of life and or nature. For example, Eyes in the Heat is a piece of art that alludes to nature where long island on the surface of the earth is perceived as eyes in the heat or simply the face of the sun. Currently, Pollock’s artworks are preserved in different recognized museums and libraries such as Dartmouth’s art museum and Barker library.
This level of recognition is a clear indication of how crucial and valuable his work was and or is even up to date. Commemoration of his legacy is carried out annually in the United States through exhibitions of artwork in various art institutions and museums. Pollock’s life came to a halt after tragic road carnage in 1956. This tragedy followed after he was alleged to battle alcoholism for years, which contributed to his sudden death. Though dead, Pollock speaks volumes and volumes to both the current and the future generations. He is indeed a legendary upon focusing on the legacy of brilliant artwork he left on earth.
Works Cited
Bates, Ellen. “Jackson Pollock.” The Library Journal 137.4(2012): 1-2. Print.
The Independent. Portrait of the Artist: The Life and Art of Jackson Pollock, 2006.
Jackson Pollock was one of the most outstanding American artists. He was a person of bright and fascinating destiny, known for his large works and inventing a new style of painting – action painting. He was born on January 28, 1916, in the small town of Cody, WY. In the future, friendly critics tried to create a beautiful myth because of the place of his birth. As this town got its name after the well-known American character of times of conquest of the Wild West, they represented the artist as the same dashing cowboy – freedom-loving, rebellious, not accepting general rules. Jackson Pollock was the most outstanding and fascinating painter of America’s Abstract painting.
Being rebellious because of his nature, he never took into consideration any laws. He was fast and furious, brightly burning his life, leaving a remarkable trace after him. He outpoured his creativity into his works made in the new style of painting that he invented. So, soon after his birth, Pollock’s family moved to San Diego. So he spent his youth in California. Artist’s father, Leroy Pollock, could not find a permanent job, that’s why he traveled along with America with his. He tried many jobs, but he wasn’t successful anyway. Eventually, he practically left his family, occasionally sending small sums of money.
Pollock had 4 elder brothers and sisters. He was brought up by his mother, Stella Pollock, whose neurotic and imperious character influenced not only Jackson’s mind and artistic style but also his life. The boy grew gloomy and closed; herewith he suffered from gushes of anger under which he could make an unexpected deed, that’s why he was twice expelled from school. Also, Jackson was under the great influence of mysticism, which interested him from an early age. Especially, he was interested in the philosophy of Jidda Krishna-murti, who stated that the truth opens to a person only intuitively while “outpouring” the personality. Jackson took these words too deeply and that was certainly to define his outlook.
Young Pollock considered that the easiest way to “outpour” is art. At the same time, he did not cherish illusions concerning his talent, instead, he critically approached his possibilities. Nevertheless, he decided to become an artist – it seemed to him, that a powerful strong-willed effort was enough to make him whatever he wanted.
When Pollock was 15, his elder brother Sanford and he spent summer with a group of land surveyors in the Grand Canyon. There, he drank alcohol for the first time. (Emmerling 10). His later alcoholism can be explained by physical intolerance that greatly influenced psychological problems caused by a lacking father and a neurotic mother. Later in his life, Jackson spent several times in psychiatric clinics, though it didn’t help. Alcohol also caused his death. He died on August 11, 1956, in a car accident.
Nevertheless, Pollock was still interested in art. Reproductions of Picasso, Matisse, and Franz Marc greatly influenced him. And his interest grew stronger. Pollock studied at an art school in LA. There his art teacher supported his interest. Sometime later, Pollock’s elder brother moved to New York. He wanted to study with famous artist Benton. And knowing that Jackson possessed special talent, he offered his younger brother to join him and study together in Art Students League. He wanted Jackson to join him. “So Pollock went to New York City in 1930 to study art with Thomas Hart Benton, a major figure in the American art movement called Regionalism” (“More About Jackson Pollock”).
He became Pollock’s first mentor. Jackson was his student for 3 years. No wonder, that Jackson’s paintings of the early and middle 30th were under the strong influence of his teacher. “Pollock’s sketchbook, containing more than 500 drawings, shows his continued efforts to organize compositions rooted in twisting counter shifts, as Benton had counseled” (“Jackson Pollock: The Artist”.).
While being Benton’s student, Pollock got acquainted with David Siqueiros and well-known Mexican muralist José Orozco. Their unique art made a lasting impact on Pollock.
Like many young artists of this time, Pollock was looking for a job during the time of the Great Depression. This job was given to him by WPA Federal Art Project, where he worked from 1935 to 1942. But his real first breakthrough was in 1943 due to his first wall-size work “Mural”. At that time he already experimented with various methods, media, ways of painting, and surfaces. In 1947 he has brought up the new technique of drawing – step by step “pouring”, or dripping, enamel or aluminum paint on a flat canvas. “As the result, he got huge canvases covered with intricate patterns” (“Jackson Pollock”).
At the beginning of 1930th Jackson, one of those young artists invited to take part in a group exhibition. There he got acquainted with Lee Krasner – his future wife. Peggy Guggenheim, the rich New York successor, was attracted by his works. She became Pollock’s sponsor patron. She introduced his works to the public. In 1943, Pollock’s first solo exhibition was organized.
In 1945 Peggy loaned a small house in Springs. Krasner and Pollock lived there till they died. Nowadays their house became a museum and the Study Center.
Here he started to create his large-scale artworks. People worshipped and hated his paintings. However, his solo exhibitions were extremely popular. By that time he was very popular in New York. In August 1949 his talent began to shine all over the world as in Life magazine an article about him was published.
In 1956 style of his work changed. Pollock almost gave up colors. During this period he created a lot of black paintings on canvases and fabrics unprimed.
Struggle with alcoholism changed Pollock’s mind. No wonder that his art also transformed. Nevertheless, he returned to a multi-colored palette. However, in the last year of his life, he completely gave up art.
At that time, his family with Krasner was no happier. Pollock “had taken a mistress and Krasner took the opportunity to go to Europe to re-evaluate their relationship. Unfortunately, Krasner received a call informing her of her husband’s sudden tragic death” (“Jackson Pollock: Biography”).
Jackson Pollock was a dedicated artist of the style he invented. Action painting is one of the types of abstract expressionism. It “uses a visual language of form, color, and line to create a composition which may exist with a degree of independence from visual references in the world” (Arnheim 7). It is a type of dynamic, impulsive painting where the artist makes his painting with vigorous, gestural movements, sometimes by splashing or dribbling, and without any ready image in his mind of how the future painting will look like. Sometimes, this term is regarded as a synonym to Abstract Painting, but that point of view is mistaken as Action Painting is only one aspect of this movement.
In December 1952 the term Action Painting was used for the first time. Well-known art critic Harold Rosenberg mentioned this term for the first time in his article issued in Art News magazine. In this article, Action Painting was introduced as a painting technique, which allows the artist to express his instinctive creative powers. Rosenberg wrote that the act of painting is much more important than ready work. The term Action Painting soon became common, despite many critics were against Rosenberg’s idea of the importance of the event, not the ready painting. For example, Mary McCarthy said that “you cannot hang an event on a wall, only a picture” (McCarthy 30).
Rosenberg’s article didn’t mention names of separate painters as well as it was not followed by illustrations. However, the artist who is above all connected with Action Painting is Jackson Pollock who described his feelings while performing the act of painting on canvas laid on the floor: “I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and be in the painting…When I am in my painting, I am not aware of what I’m doing. It is only after a sort of “get acquainted” period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through” (Interview with Jackson Pollock).
A lot of ideas of how Pollock invented his dripping techniques were argued, even including such fishy tale as he figured it after kicking over a can of paint. The most popular theory is that Pollock was under the impact of Navaho’s sand paintings – Indians during some rituals scatter tinted sand on the ground making niggled patterns. But it doesn’t mean a lot where he found the clues; Pollock used this technique to create his masterpieces which are usually regarded, as the greatest abstract paintings ever.
“Pollock was the first American artist of this genre who was taken seriously in Europe. He also was the first “all-over”‘ painter, pouring paint rather than using brushes and a palette, and abandoning all conventions of a central motif. He danced in semi-ecstasy over canvases spread across the floor, lost in his patterning, dripping and dribbling with total control. He said: “The painting has a life of its own. I try to let it come through”.
He painted no image, just “action”, though “action painting’ seems an inadequate term for the finished result of his creative process. Lavender Mist is 3 m long (nearly 10 ft), a vast expanse on a heroic scale. It is alive with colored scribble, spattered lines moving this way and that, now thickening, now trailing off to a slender skein. The eye is kept continually eager, not allowed to rest on any particular area. Pollock has put his hands into paint and placed them at the top right — an instinctive gesture eerily reminiscent of cave painters who did the same. The overall tone is pale lavender, and active. At the time Pollock was hailed as the greatest American painter, but there are already those who feel his work is not holding up in every respect” (Pioch 170).
Pouring technique and tremendous works made on the floor are the things Pollock is famous for. His work Number 2 demonstrates this fact. It is a commercially dyed dark red canvas decorated with paint drops and poured lines. Due to a big concentration of black and white paints, oil bled into a porous canvas, imitating shades. Pollock used this effect, carefully placing within darker areas drops of Indian red color, the color which is similar to fabric, creating repoussoir effect which inhales life and naturalness to the drops, which in another case would seem a dull error.
Pollock did not drip paint randomly, he carefully thought about the place of each drop of this or that color, trying to control the plan of a picture, despite the idea of Abstract painting. Curved elements can be noticed for the first time in Number 2 work because it was drawn not on canvas, though on fabric. “Elements that soaked through appear there as if white were under black but appear on the front with the white on top, showing that Pollock filled in parts of the white lines so the overall aesthetic balance of lights and darks would, as he liked to say, ‘work’” (“Jackson Pollock: Preface”).
It seems that vertical black lines are drawn from left to right. Prevailing of white color impacts a small tension. This fact is solved by locating white lines, mainly at the other edge of canvas or fabrics. When Pollock was drawing on the floor, just like the Indian painters, he worked together on both sides of canvas or fabrics. If one will turn the picture upside down, it will be obvious that white lines are located also as free and logical, as black lines.
One of the main features of Pollock’s large-scale works is that the main art elements are located from left to right. The left edge of the painting, regardless of which edge he chose to paint first, always begins “with an elegant pirouette of paint, which then dances across the length of the canvas, until it reaches the terminal right edge, where a suddenly stymied form signifies the artist’s frustration that subjective infinity is limited by the objective length of his ground” (“Jackson Pollock: Preface”). It is quite typical for his unrestrained mind.
The shape of his works, which was far from being usual (five times wider than their height), served his tendency to “write out” his paintings. Also, during these years he was deeply interested in mural paintings. Several vertical black lines oblong the picture has something in common with Benton’s theory of mural painting. He taught students to create a wall of vertical lines around which a small amount of smooth and curved forms can be located.
Pollock often used this technique in his work, especially it is noticeable in Blue Poles, and also in Number 2, where white color opposes black border. This shape of the wall with vertical lines can penetrate even deeper into his memory. The family photo of a drawing-room in Cody was made in 1912 on which an oblong number of oleo lithographs of flowers on the wall, the image, shape which is carefully represented in his pouring works. It seems that all details of style and the invoice of Pollock’s works, both his main works and sketches, are taken from his life experience and education.
In a lot of ways, Pollock’s works were a closed system that again and again absorbed itself until disseminate its energy. All his paintings, unique and individual, were added to modern legends of art, because of the heroism of character which surpasses tragedy and traditions.
Between 1947 and 1950 Pollock painted his most celebrated works. This period in his life was called the “dripping period”. However, experiencing the peak of his popularity he unexpectedly gave the drip technique up. After 1951 in his works dark paints prevailed, in particular, black paint. Gradually Pollock began to introduce figurative elements to his works. He was becoming more and more commercial, which reflected him as deepened problems with alcohol (Evans, “Jackson Pollock”).
Despite the struggle with alcoholism throughout all his life, Pollock’s career was suddenly interrupted by a New York accident, where he smashed his car in the tree at the age of 44 years. After his death, Pollock’s wife Lee Krasner disposed of his works and stated that Pollock’s influence was nevertheless strong, despite changing tendencies of the world of art
The influence of the art of Native Americans is obvious and very strong in Pollock’s works. He, as well as American Indian artists, used similar techniques. For example, he painted only those pictures which arose in its consciousness when it was empty, without any thoughts or any imposed image, he painted shapes of “the Spirit world”, and thus his works are full of primitive aesthetics. This “visual language” connects Pollock’s paintings with the primitivism art of Native Americans.
Primitivism was a rather popular art style among modernists. Pollock picked the closest to his spirit and culture form of it to explore. Finally, Pollock’s art is deeply connected with the art of Native Americans.
Pollock’s works always provoked the hottest contradictions among art critics. He was often at the center of various debates and disputes.
As was already mentioned above, Harold Rosenberg responded about Pollock’s painting technique as something that had changed painting, he said that was a turning point in art when the painting is to paint only, without pursuing another aim. Gesture on a canvas was a gesture of clearing from clichéd ideals imposed by politics and morals. Pollock lived a life free of such imposed clichés. However, his paintings and unique techniques are still very popular and attract new supporters and followers.
Works Cited
Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969. Print.
Emmerling, Leonhard. Jackson Pollock: 1912-1956. Germany: Taschen, 2003. Print.
Evans, Charles. T. “Jackson Pollock”. novaonline. Nova Online, n. d. Web.
Huntfor.com. “Jackson Pollock”. Museum Gallery of Oil Painting, n. d. Web.
Jason-Pollock.com. “Jackson Pollock: Biography”. Jason-Pollock.com, n. d. Web.
Learn.columbia.edu. “Jackson Pollock: Preface”. Columbia University, Department of Art, History and Archaeology, n. d. Web.
McCathy, Mary. A Bolt From the Blue And Other Essays. NY: New York Review of Books, 2002. Print.
Nga.gov. “Jackson Pollock: The Artist”. National Gallery of Art, n. d. Web.
Having visited the exhibition in the museum I was attracted by two great pictures. The first I would like to tell of is the picture by Jackson Pollock named The Guardian of the Secret, 1943. This work, which Pollock exhibited on his first personal exhibition carried out in November 1943, attracted special attention of critics. According to the memories of Clement Greenberg “there were other more gifted and more successful artists at that time, but none of them managed to express themselves in their pictures so sincerely and impressively, as Pollock managed”1.
Pollock depicted two abstract bodies of “guardians”: female body is on the left, her face is covered with the mask of horse and on the right he depicted male body. The “guardians” look attentively at the fragment covered with symbols. Some of these symbols Pollock took from Afro-American primitive art, other were taken from mythology. Some of the signs send us to the art worlds of Picasso and Miró. On the basis that Pollock was fond of psycho-analytical theory of Jung, one can suppose that these depicted signs are called to express mysterious shadows and image born by his unconsciousness.
This picture is drawn in the style of action painting. This style was invented by Pollock, so he was the genuine master in it. As this work was created near the end of his life it looks rather depressively. Dark colors overwhelm the picture. Grey, black, brown and rusty colors create dismal atmosphere. Red color symbolizes blood, as it seems to me. Male body is depicted rather big and powerful as if creating an allegory of power, might, force and dominating of men. His hand lies on the fragment with strange signs. Perhaps, this male body is figurative depiction of the Pollock himself, as if he holds his hand on his consciousness and unconsciousness and all what’s going on inside it. The body of woman is rather tender as if she is a tender flower who has to hide from something.
Red, blue and yellow touches of brush show fire. The fire, which was burning in the soul of the artist. The guardians hold the ancient scroll all covered with strange and mysterious signs. Some of them are even falling down from it in a chaotic order. Just like thought of Pollock when he was drawing the picture. His last years drowned in alcohol and he was tired and his works were becoming more and more depressive. The scroll, full of his thoughts, rather strange and unfamiliar for a stranger, is, perhaps, the idea of his brain and inner world. At last, the concept of action painting is expressing oneself as deeply, freely and sincerely, as one can.
Jackson Pollock used to draw with heavy loaded brushes. He took a lot of color on the brush and painted. The majority of his works were painted on the floor where the artist could freely move. This picture is drawn from left to the right – that was the usual way for the artist to draw as if he was writing. Deep and thick touches of brush create the easily recognizable style of Pollock. Also, one of his distinguishing features was that he drew his pictures beginning with the lighter colors. And the end it gave effects as if lighter color comes out through darker colors just as volcanoes, as if the light is born by the darkness.
As I have already mentioned this work tends to be dark because it was drawn almost at the end of Pollock’s life. It is partially symmetrical horizontally and vertically.
When I have seen this picture for the first time I was really fascinating as it provokes deep thoughts. In the right of this work in dark column a symbol similar to spermatozoid can be easily seen. It is going upwards. I think that it is symbolizing a new life, a new idea that begins in the head of the master when he is thinking over a new masterpiece.
The second picture that astonished me was Frieda and Diego Rivera, 1931 by Frida Kahlo. On this picture both Frida herself and her beloved man, whom she loved during all her life are depicted. Touches of brush on this picture are calm and soft, as if Frida loved what and whom she was painting. There is nothing on the background. There are only Frida and her love. They look at with calm and wise eyes, and if you will look at the picture for a long time, you can notice that their eyes are almost eyes of a living person. “Kahlo once said, “I paint myself because I am often alone and I am the subject I know best””2. Frida Kahlo was fond of Botticelli’s works and they made a great impact on her early art life.
Their faces are calm, Diego’s face seems to be a little bit smiling, but Frida is serious about something. They are holding their hands – a symbol of their unity and love. A white dove flying above them reminds us about some Bible plots, but perhaps, Frida wanted to depict in this way that real marriages are made on Heaven, not on the Earth.
This highlighting of the two people makes us think that Frida wanted to tell us that there existed no one in the world for her, except Diego. It is quite clear as he was the only man who captured her thoughts. She depicted him very clodse to life.
Touches of brush are calm and tender, as the painter loved what she was painting. They were made from the top to the down and it also makes us feel comfortable. Colors of the picture are not bright, except clothes of Frida. Perhaps, she wanted to show that she is really special.
Kahlo’s pictures are extremely thought provoking, though every shape depicted can be easily seen. Kahlo’s pictures are overwhelmed with symbols and signs, as well as Pollock’s work, though they were artists of different genres. Kahlo took her inspiration from the art of ancient Mexican tribes, pre-Columbian civilizations. Her works are full of symbols and fetishes of these cultures.
She “painted “pain and passion” using intense, vibrant colors. Her style is “close to folk art””3. Just like as Pollock she used primitive ideas of art n her own works. She filtered all the ideas of ancestors and created something great and new.
Touches of brushes on her work are tender as if she loved what she was doing. She was bright and strong woman. She started to paint after serious car crash, where she suffered a lot. Her talent is not lost through half of a century after her death.
This visit to museum left great memories in my head. Kahlo and Pollock are two different artists who used in their art and works ideas of their ancestors, who took their inspiration from the same source of primitivism and its culture. Their works are of great value, as they are really unique. They imply deep and heavy thoughts. Pictures look rather depressively and dismal. In Pollock’s case this is due to the colors he used in his picture. And in Kahlo’s case it is due to the glance, to the idea that send the eyes of a woman depicted there and her loneliness, total loneliness even in spite she is pregnant and her baby is with her.
I liked both of the pictures and they are sure to leave great impact inside me. I will be thinking them over and over. Perhaps, I will visit the exhibition once more to look at them once again and to think more about those ideas implied by the painters. Different styles and direction in art didn’t become a nuisance in bringing their passions from the common source. These two great people lived at the same epoch and died almost at the same year. Their works will always be valued as they perform a unique painting technique (Jackson Pollock) and unique ideas of strong woman (Frida Kahlo). Both of the painters had hard lives, but, in my opinion, it is an axiom then the harder life of an artist, the better the works are. Concerning these two pictures that I saw I can say that this is really the truth.
I hope these techniques and ideas provided by the painters will not be lost and will be studied by younger generations. Kahlo and Pollock left behind great heritage worthy of being remembered in centuries.
Works Cited
Greenberg, Clement. Art and Culture. Beacon: Beacon Press, 1961. Print.
Ruhrberg, Karl et al. Frida Kahlo: Art of the 20th Century: Painting, Sculpture, New Media, Photography. Köln: Benedikt Taschen Verlag GmbH, 2000. Print.
Footnotes
Clement Greenberg, Art and Culture (Beacon: Beacon Press, 1961) 15.
Andrea Kettenmann, Frida Kahlo: Pain and Passion (Köln: Benedikt Taschen Verlag GmbH, 1993) 3.
Karl Ruhrberg et al. Frida Kahlo: Art of the 20th Century: Painting, Sculpture, New Media, Photography (Köln: Benedikt Taschen Verlag GmbH, 2000) 745.
“Portrait and a dream” is an artwork created by Jackson Pollock in 1953. It is categorized under the works by modern abstract expressionists. The medium the artist used to do the painting is canvas, while the material used is oil. Its size and dimensions are 148.59 x 342.26 cm. The subject of the painting falls under dreams, illusions, and the abstract perception of the world. The painting is a direct expression of Pollock’s dreams and illusions. He used the painting to express and reveal his deep unconscious feelings and emotions.
The painting is 2D with a perspective that is less modern. The entire painting is done in two-dimension, and due to the many perspectives in which it is drawn, there is a sense of abandonment evident in this masterpiece.
The painting is created using multiple artistic styles that allow one to develop or speculate on the true interpretation of its meaning. There is a general appeal in the painting that draws a viewer to it. The energy that was put in the painting during the process of its creation can be felt from just a mere glance at it. The use of line is the most relevant design element in this piece of art.
Analysis of the artwork
The artwork by Pollock is a diptych whereby two flat paintings are attached together on a white ground to form one piece of art. The painting is done in black and white on the left side, while on the right side, red and orange colors are used as well (Fichner-Rathus). One of the two paintings appears more abstract in nature than the other one.
The painting on the right hand side is figurative, while that on the left hand side appears to be abstract. At the same time, Pollock seems to have spent more time to carefully draw and paint the figure on the right hand side as compared to the time spent on the left-hand side figure.
The underlying concept of the painting appears to have been borrowed from the literal depiction of “self-portrait” and “the dream” where the “self-portrait” is assigned to the right hand side while “the dream” appears to be reflected in the figure on the left hand side (Arnold and Iverson).
Analysts have argued that painting might be an expression of the Pollock’s desperate life that emerged as a result of some of the choices he had made. His later works during the 50s were mainly focused on self-destruction as well as self-pity. It is not surprising, taking into account the manner in which he died, as even this particular painting turns out to be an illustration of a cry for help.
According to Pollock, he created the painting to be a reflection of himself when drunk. The image on the right is his portrait when high on alcohol and other drugs (Tuchman).
Methods and media for the artwork
Canvas is a common media used for 2 dimensional painting by artists during that period as well as at present days. However, this medium is specifically used for oil painting since it better supports the paint as compared to other forms of media. Pollock used canvas to paint his work, the choice of which greatly relied on oil paints. The canvas in the painting was stretched across a frame made of wood to support the material during painting and also to represent the artwork for the final presentation.
There are also various methods of painting with oil. The method used by Pollock was drip painting where the artist drips oil paint on a canvas to create a piece of art. The dripping was mostly done using paint brush to create the various forms of lines which are evident in the painting.
The effort made by Jackson Pollock while creating this painting was to reflect the way in which the natural world phenomena interact with self-expression (Tuchman). The painter only drips oil paint on a canvas medium and allows the paint to interact with nature. This simply implies the painter to movie the canvas to allow the paint spreading across while it is dripping.
Pollock perfected the skill of throwing and dripping oil paint on media, especially on canvas. He created webs, arabesques, and vortices of color using the painting technique. Having a closer look at the painting “Portrait and a Dream”, one can easily establish that the image on the right hand side was more carefully drawn or painted than that on the left hand side. It may be slightly difficult to imagine that the image was painted using drip method.
Form and context of the artwork
The media used in art always has a direct influence on the form. A form is used to refer to qualities, such as shape assumed by an artistic expression. In reference to the panting by Jackson Pollock, some of the formal qualities that exist in the painting include the brush and the canvas textures, and the color used (Robertson and McDaniel).
The painting was done on canvas through dripping of oil paint. The lines appearing in the painting are heavy and bold, which is typical of oil paints. As the oil dries, it leaves bold and heavy lines on the canvas. The lines can also be said to have some sense of slight action. They appear dynamic, with some sort of abstract movement. The random curved shapes of the lines further express the abstract nature of the lines.
With regard to the shape, the painting is done on a 2 dimension surface. The two figures constructed in the process of developing the painting have a round shape which is brought about by the curved nature of the lines. The context of an art basically refers to the environment that surrounds the artiste at the time when he or she is producing the art.
Jackson Pollock was in his early 40s when he came up with the piece “Portrait and a Dream”. Pollock, explaining why he painted the piece in such a manner, said that it was an expression of what was going on in his mind, when not sober. This was basically the inspiration to do this artwork.
It is a representation of gothic darkness after the Pollock entered into gothic activities and alcohol and drug abuse. The painting has been described by many art analysts to have a strong connection to Pollock’s life. Such a strong connection between the painting and Pollock’s life generates the context in which the painting was done. The portrait which the artist claimed to represent him, when not sober, appears to be a typical illustration of his entire life and life style. One can argue that the portrait is clumsy and violent.
Visual elements
Visual elements in art include such attributes as size, texture, line, and color. The purpose of analyzing visual elements is to try and understand why the artist made the choice to use those particular elements.
First, a piece of art is separated into two visual elements and analyzed based on those separate parts. In order to understand the art as a whole, it is better to analyze each figure separately. Jackson Pollock used various visual elements to express the violent, careless and clumsy activities that were going on in his life at the time of creating the painting.
Texture as a form of visual element helps bring out various details of the painting. The texture of Pollock’s painting is rough. This brings out further details of the abstract nature of the painting. There is little indication of smooth texture in the painting except only for the spaces and the areas that are shaded. The rough texture may also have been created by the painter to express what was going on in his mind at that time.
Pollock used mostly black and white color in both paintings. However, the one on the right hand side also has additional red and orange colors. Based on the context of the painting, the red color may refer to the dangerous things that happen in the mind and life of the artist, especially when he is not sober.
The manner in which the coloring is done clearly portrays a lack of unity in the painting. It is difficult to connect the two objects or even develop a realistic understanding of any of the two figures. Therefore, color was also used to illustrate the abstract nature of the paintings.
Works Cited
Arnold, Dana and Margaret Iverson. Art and Thought. Oxford: Basil Blackwell, 2003. Print.
Fichner-Rathus, Lois. Understanding Art. New York: Paperback, 2009. Print.
Robertson, Jean and Craig McDaniel. Themes of Contemporary Art, Visual Art after 1980. Oxford: Oxford University Press, 2005. Print.
Paul Jackson Pollock born 1912, died 1956, was an American abstract painter who practiced the ‘Action Painting’ technique. This was a new technique that very few painters of his era practiced. In this technique of painting, paint of different colors and materials, including industrial and house coating paints, is splashed, dripped, smeared and dribbled on a canvas. The mass of paint is then formed into different layers using knives, brush, fingers, sticks, trowels and other items. Jackson Pollock mastered this technique and while such paintings look like a mess of colors, careful inspection reveals that the paintings have very intricate patterns that put a living form for the painting. One of his best known paintings was ‘Convergence’ created around 1952 (Harrison, 2007). An image of the painting is given below.
Figure 1. ‘Convergence by Jackson Pollock – 1952 (Harrison, 2006).
Naifeh’s opinion
Naifeh (1989) has pointed out that Jackson’s paintings to a great extent reveal the turmoil he inflicted on himself and t depression bouts that he went through. He had also taken up to drinking and had alcohol related problems. The paintings bring appear chaotic at the first glance, but closer inspection revels very fine details that symbolize the struggle of the artists spirit when bogged down in a mire of life. The painting reveals the struggle that a human spirit is undergoing as it gets caught in a morass. The white splashes can be regarded as spirits that are liberated from the black morass, the red splashes can be regarded as the spirits that have been blooded as they struggle against life forces.
Technique that Jackson used
Naifeh (1989) has suggested that the technique that Jackson used was not random splashes of color, which even a monkey can do. According to the author, the artist direct paint and made it drip by using tubes and cans of paint. The act of carefully monitoring and guiding the drips is as skilled as the act of painting by using a fine brush. When Jackson was actually painting, all his actions were done by his sub conscious and he would go in a trance like state as the painting came up. The canvas were spread on the floor and Jackson would be painting from all the four sides, sometimes using multiple layers.
Writing further, Naifeh comments that the paintings reveal hidden fractals that are higher form of fractions and used in advanced mathematics. There have been suggestions that Jackson was attempting to define the Chaos Theory, ten years before the theory was proposed.
Harrison (2007) suggests that Jackson was totally consummated by his paintings and she speaks of tragedies such as his bouts of alcoholism, the estrangement with his wife, the intense bouts of depression that he faced. To a large extent, these negative influences were brought to the fore in his works. Speaking of Convergence, the author comments that in later years of his life, Jackson became aware of nature and its beauty and remembered the wide open spaces he used to see when he accompanied his father who was a road surveyor. Jackson’s paintings attempt to bring back nature and the random flecks and spots that are seen in the paintings represent various fractals and glimpses of life.
Naifeh (1989) points out that one of his paintings fetched a record sum of $140,000,000 when it was auctioned in 2006.
References
Harrison Helen. 2006. Jackson Pollock Bio: Pollock Krasner House and Study Center. Web.
Naifeh, Steven and Smith, Gregory White. 1989. Jackson Pollock:an American saga, Published by Clarkson N. Potter, Inc. Web.
