Art Galleries in Polk County Iowa With Classical and Realism Oil Paintings

American painter

Jackson Pollock
Studio portrait at about age 16
Born	Paul Jackson Pollock (1912-01-28)January 28, 1912 Cody, Wyoming, U.South.
Died	August 11, 1956(1956-08-xi) (aged 44) Springs, New York, U.S.
Education	Art Students League of New York
Known for	Painting
Notable piece of work	Number 17A (1948) No. 5, 1948 (1948) Mural on Indian Carmine Ground (1950) Fall Rhythm (1950) Convergence (1952) Blueish Poles (Number xi, 1952) (1952) The Deep (1953)
Motility	Abstract expressionism
Spouse(s)	Lee Krasner ​ (m. 1945)​
Patron(southward)	Peggy Guggenheim

Paul Jackson Pollock (; January 28, 1912 – Baronial xi, 1956) was an American painter and a major figure in the abstruse expressionist movement. He was widely noticed for his "drip technique" of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was likewise chosen all-over painting and action painting, since he covered the entire canvass and used the force of his whole trunk to paint, often in a frenetic dancing style. This extreme course of brainchild divided the critics: some praised the immediacy of the creation, while others derided the random effects. In 2016, Pollock's painting titled Number 17A was reported to have fetched Us$200 one thousand thousand in a individual purchase.

A reclusive and volatile personality, Pollock struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an of import influence on his career and on his legacy. Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, 4 months after his decease, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more than comprehensive exhibition of his work was held in that location 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.^{[1] [two]}

Early life (1912–1936) [edit]

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

While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Manual Arts High School,^[vi] from which he was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American civilisation while on surveying trips with his father.^{[3] [seven]} He was also heavily influenced by Mexican muralists, particularly José Clemente Orozco,^{[8] [9]} whose fresco Prometheus he would later call "the greatest painting in N America".^[x]

In 1930, following his older blood brother Charles Pollock, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Benton'southward rural American subject matter had trivial influence on Pollock'southward work, but his rhythmic use of paint and his fierce independence were more lasting.^[three] In the early on 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds, a fellow art student, and Benton, their teacher.^{[11] [12]}

Career (1936–1954) [edit]

Pollock was introduced to the employ of liquid paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros. He later used pigment pouring as i of several techniques on canvases of the early 1940s, such as Male and Female and Composition with Pouring I. Afterward his motion to Springs, New York, he began painting with his canvases laid out on the studio floor and he adult what was later called his "drip" technique.

From 1938 to 1942 Pollock worked for the WPA Federal Art Project.^[xiii] During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph L. Henderson and later with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings.^{[xiv] [15]} Some historians^{[ who? ]} have hypothesized that Pollock might have had bipolar disorder.^[xvi] Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the 8-by-xx-human foot (2.4 by half-dozen.1 m) Landscape (1943)^[17] for the entry to her new townhouse. At the suggestion of her friend and advisor Marcel Duchamp, Pollock painted the work on canvas, rather than the wall, so that it would be portable. Later on seeing the big mural, the fine art critic Clement Greenberg wrote: "I took one expect at information technology and I thought, 'At present that'south dandy fine art,' and I knew Jackson was the greatest painter this state had produced."^[18] The catalog introducing his first exhibition described Pollock's talent as "volcanic. It has fire. It is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, not withal crystallized."^[19]

Baste menstruum [edit]

Pollock's most famous paintings were made during the "drip menses" between 1947 and 1950. He became famous following an August 8, 1949, 4-page spread in Life mag that asked, "Is he the greatest living painter in the United States?" Cheers to the mediation of Alfonso Ossorio, a shut friend of Pollock, and the art historian Michel Tapié, the young gallery owner Paul Facchetti, from March 7, 1952, managed to realize the first exhibition of Pollock'southward works from 1948 to 1951^[20] in his Studio Paul Facchetti in Paris and in Europe.^[21] At the meridian of his fame, Pollock abruptly abandoned the drip style.^[22] Pollock's drip paintings were influenced past the creative person Janet Sobel; the fine art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's work "had made an impression on him."^[23]

Pollock's work afterward 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings have been referred to equally his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons subsequently sold one to a friend at half the toll. These works show Pollock attempting to discover a balance between brainchild and depictions of the figure.^[24]

He later returned to using color and continued with figurative elements.^[25] During this menses, Pollock had moved to the Sidney Janis Gallery, a more than commercial gallery; the demand for his work from collectors was groovy. In response to this force per unit area, along with personal frustration, his alcoholism deepened.^[26]

Relationship with Lee Krasner [edit]

The two artists met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar yet intrigued with Pollock's piece of work and went to his apartment, unannounced, to meet him following the gallery exhibition.^[27] In October 1945, Pollock and Lee Krasner were married in a church building with two witnesses present for the event.^[28] In November, they moved out of the city to the Springs expanse of East Hampton on the south shore of Long Island. With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame business firm and barn at 830 Springs Fireplace Route. Pollock converted the barn into a studio. In that space, he perfected his big "drip" technique of working with pigment, with which he would go permanently identified. When the couple found themselves complimentary from work they enjoyed spending their time together cooking and baking, working on the business firm and garden, and entertaining friends.^[29]

Krasner'south influence on her husband's art was something critics began to reassess by the latter half of the 1960s due to the rise of feminism at the time.^[thirty] Krasner's all-encompassing cognition and training in mod art and techniques helped her bring Pollock up to engagement with what contemporary art should be. Krasner is often considered to take tutored her married man in the tenets of modernistic painting.^{[31] [32]} Pollock was so able to change his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became the one estimate he could trust.^{[31] [33]} At the start of the ii artists' union, Pollock would trust his peers' opinions on what did or did non 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] Fine art dealer John Bernard Myers once said "there would never accept been a Jackson Pollock without a Lee Pollock", whereas young man painter Fritz Bultman referred to Pollock every bit Krasner's "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock's career.^[35]

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

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

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

Pollock and Krasner's relationship began to crumble by 1956, owing to Pollock's standing alcoholism and adultery involving some other artist, Ruth Kligman.^[twoscore] On August eleven, 1956, at 10:15 p.1000., Pollock died in a single-car crash in his Oldsmobile convertible while driving under the influence of alcohol. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend.^[40] 1 of the passengers, Edith Metzger, was besides killed in the accident, which occurred less than a mile from Pollock'southward home. The other rider, Ruth Kligman, survived.^[41] In Dec 1956, four months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held 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'south reputation remained potent despite changing art world trends. The couple are buried in Light-green River Cemetery in Springs with a large 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 utilise of household paints, instead of artist's paints, every bit "a natural growth out of a need".^[45] He used hardened brushes, sticks, and even basting syringes every bit paint applicators. Pollock's technique of pouring and dripping pigment is thought to be i of the origins of the term activity painting. With this technique, Pollock was able to reach his own signature style palimpsest paintings, with paints flowing from his called tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension by existence able to view and apply paint to his canvases from all directions.^[46]

Ane definitive influence on Pollock was the piece of work of the Ukrainian American creative person Janet Sobel (1894–1968) (born Jennie Lechovsky).^[47] Peggy Guggenheim included Sobel's piece of work in her The Art of This Century Gallery in 1945.^[48] Jackson Pollock and art critic Clement Greenberg saw Sobel's work at that place in 1946 and afterward Greenberg noted that Sobel was "a direct influence on Jackson Pollock'due south drip painting technique".^[49] In his essay "American-Type Painting", Greenberg noted those works were the commencement 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 strength of his whole trunk to paint, which was expressed on the large canvases. In 1956, Time mag dubbed Pollock "Jack the Dripper" due to his painting style.^[51]

My painting does non come from the easel. I adopt to tack the unstretched canvass to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more than at ease. I experience nearer, more part of the painting, since this mode I can walk effectually information technology, work from the four sides and literally be in the painting.

I continue to get further abroad from the usual painter's tools such equally easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other strange matter added.

When I am in my painting, I'yard not aware of what I'k doing. It is only after a sort of "get acquainted" menstruation that I see what I have been well-nigh. I accept no fear of making changes, destroying the image, etc., considering the painting has a life of its own. I try to let 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 easy give and take, and the painting comes out well.

—Jackson Pollock, My Painting, 1956^[52]

Pollock observed Native American sandpainting demonstrations in the 1940s. Referring to his style of painting on the floor, Pollock stated, "I feel nearer, more than a part of the painting, since this fashion I tin can walk circular it, piece of work from the four sides and literally exist in the painting. This is akin to the methods of the Indian sand painters of the West."^[53] Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he commonly had an idea of how he wanted a particular piece of work to appear. His technique combined the movement of his trunk, over which he had control, the mucilaginous menses of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically effectually the canvas, virtually as if in a dance, and would not stop until he saw what he wanted to see.

Austrian creative person Wolfgang Paalen'due south article on totem art of the indigenous people of British Columbia, in which the concept of space in totemist fine art is considered from an artist's point of view, influenced Pollock also; Pollock owned a signed and dedicated re-create of the Amerindian Number of Paalen's magazine (DYN 4–5, 1943). He had besides seen Paalen'southward surrealist paintings in an exhibition in 1940.^[54] Another potent influence must have been Paalen's surrealist fumage technique, which appealed to painters looking for new ways to depict what was called the "unseen" or the "possible". The technique was once demonstrated in Matta's workshop, nigh which Steven Naifeh reports, "In one case, when Matta was demonstrating the Surrealist technique [Paalen'south] Fumage, Jackson [Pollock] turned to (Peter) Busa and said in a phase whisper: 'I can exercise that without the smoke.'"^[55] Pollock'due south painter friend Fritz Bultman fifty-fifty stated, "It was Wolfgang Paalen who started it all."^[56]

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

Photographer Hans Namuth extensively documented Pollock's unique painting techniques

Namuth said that when he entered the studio:

A dripping wet sheet covered the entire floor ... There was consummate silence ... Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move effectually the sheet. It was as if he of a sudden realized the painting was not finished. His movements, irksome at beginning, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the photographic camera shutter ... My photography session lasted as long as he kept painting, perhaps half an hr. In all that time, Pollock did not terminate. How could ane keep up this level of activity? Finally, he said "This is it."

Pollock'due south finest paintings ... reveal that his all-over line does non give rising to positive or negative areas: we are not made to feel that ane part of the canvas demands to be read equally figure, whether abstract or representational, confronting another part of the canvas read equally footing. There is not inside or outside to Pollock's line or the space through which it moves. ... Pollock has managed to free line not only from its part of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.

—Karmel, 132

From naming to numbering [edit]

Continuing to evade the viewer's search for figurative elements in his paintings, Pollock abandoned titles and started numbering his works. He said nigh this, "[L]ook passively and try to receive what the painting has to offering and non bring a field of study thing or preconceived idea of what they are to be looking for." His wife said, "He used to requite his pictures conventional titles ... but now he but numbers them. Numbers are neutral. They make people expect at a picture for what it is—pure painting."^[45]

Critical fence [edit]

Pollock's piece of work has been the field of study of important critical debates. Critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random energy, and therefore meaningless".^[57] Reynold'south News, in a 1959 headline, said, "This is non art—it's a joke in bad taste."^[58] French abstruse painter Jean Hélion, on the other mitt, remarked on first seeing a Pollock, "It filled out space going on and on considering it did not accept a start or finish to it."^[59] Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg'due south view of art history as a progressive purification in form and emptying of historical content. He considered Pollock's work to exist the best painting of its 24-hour interval and the culmination of the Western tradition via Cubism and Cézanne to Manet.

In a 1952 article in ARTnews, Harold Rosenberg coined the term "action painting" and wrote that "what was to go on the canvas was non a pic simply an event. The large moment came when it was decided to pigment 'simply to pigment'. The gesture on the canvass was a gesture of liberation from value—political, artful, moral." Many people^{[ who? ]} causeless that he had modeled his "action painter" image on Pollock.^[60]

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

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

Legacy [edit]

Influence [edit]

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

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

In pop civilisation and media [edit]

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

In the early 1990s, three groups of film makers were developing Pollock biographical projects, each based on a different source. The project that at beginning seemed nearly advanced was a articulation venture between Barbra Streisand's Barwood Films and Robert De Niro's TriBeCa Productions (De Niro'south parents were friends of Krasner and Pollock). The script, past Christopher Cleveland, was to be based on Jeffrey Potter's 1985 oral biography, To a Tearing Grave, a collection of reminiscences by Pollock'southward friends. Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock. A second was to be based on Love Affair (1974), a memoir by Ruth Kligman, who was Pollock's lover in the six months earlier his death. This was to be directed past Harold Becker, with Al Pacino playing Pollock.^[66]

In 2000, the biographical motion-picture show Pollock, based on the Pulitzer Prize-winning biography, Jackson Pollock: An American Saga, directed past and starring Ed Harris, was released. Marcia Gay Harden won the Academy Laurels for Best Supporting Actress for her portrayal of Lee Krasner. The movie was the project of Harris, who was nominated for the Academy Award for Best Player. Harris himself painted the works seen in the motion picture.^[67] The Pollock-Krasner Foundation did not authorize or collaborate with any product.^[66]

In September 2009, the fine art historian Henry Adams claimed in Smithsonian mag that Pollock had written his name in his famous painting Mural (1943).^[68] The painting is at present insured for The states$140 meg. In 2011, the Republican Iowa Country Representative Scott Raecker introduced a bill to force the sale of the artwork, held past the University of Iowa, to fund scholarships, merely his neb created such controversy that it was speedily withdrawn.^{[17] [69]}

Fine art marketplace [edit]

In 1973, Number 11, 1952 (also known every bit Blueish Poles) was purchased by the Australian Whitlam government for the National Gallery of Australia for US$two one thousand thousand (A$1.iii meg at the time of payment). At the fourth dimension, this was the highest price always paid for a modern painting. The painting is now one of the nearly popular exhibits in the gallery.^[lxx] Information technology was a centerpiece of the Museum of Mod Art'due south 1998 retrospective in New York, the first fourth dimension the painting had been shown in America since its purchase.

In Nov 2006, Pollock'south No. 5, 1948 became the world'southward most expensive painting, when information technology was sold privately to an undisclosed heir-apparent for the sum of Usa$140 meg. Another artist record was established in 2004, when No. 12 (1949), a medium-sized drip painting that had been shown in the Us Pavilion at the 1950 Venice Biennale, fetched US$xi.vii million at Christie's, New York.^[71] In 2012, Number 28, 1951, one of the artist's combinations of drip and brushwork in shades of argent gray with crimson, yellow, and shots of blue and white, too sold at Christie'due south, New York, for US$20.v 1000000—US$23 million with fees—within its estimated range of The states$20 million to Us$xxx million.^[72]

In 2013, Pollock's Number xix (1948) was sold by Christie'southward for a reported US$58,363,750 during an auction that ultimately reached U.s.$495 1000000 total sales in ane night, which Christie's reports as a record to date as the most expensive auction of gimmicky art.^[73]

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

Actuality problems [edit]

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

In 2006, a documentary, Who the *$&% Is Jackson Pollock? was made concerning Teri Horton, a truck driver who bought an abstract painting for 5 dollars at a thrift shop in California in 1992. This piece of work may be a lost Pollock painting, but its actuality is debated.

Untitled 1950, which the New York-based Knoedler Gallery had sold in 2007 for $17 million to Pierre Lagrange, a London hedge-fund multimillionaire, was subject field to an actuality suit before the United States District Court for the Southern District of New York. Done in the painter'due south archetype drip-and-splash fashion and signed "J. Pollock", the pocket-sized-sized painting (15 by 28 i/2 in) was found to incorporate yellowish paint pigments not commercially available until about 1970.^[77] The conform was settled in a confidential agreement in 2012.^[78]

Fractal calculator analysis [edit]

In 1999, physicist and artist Richard Taylor used estimator assay to show similarities between Pollock'due south painted patterns and fractals (patterns that recur on multiple size scales) found in natural scenery,^[79] reflecting Pollock's ain words: "I am nature".^[80] His enquiry squad labelled Pollock's style fractal expressionism.^[81]

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

In 2007, a traveling museum exhibition of the paintings was mounted and was accompanied by a comprehensive book, Pollock Matters, written past Ellen G. Landau, one of the four sitting scholars from the sometime Pollock Krasner Foundation authentication panel from the 1990s, and Claude Cernuschi, a scholar in Abstract Expressionism. In the volume, Landau demonstrates the many connections between the family who owns the paintings and Jackson Pollock during his lifetime to identify the paintings in what she believes to be their proper historic context. Landau also presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in three of the 24 paintings.^{[89] [90]} However, the scientist who invented one of the modern pigments dismissed the possibility that Pollock used this pigment as being "unlikely to the betoken of fantasy".^{[ citation needed ]}

After, over 10 scientific groups take performed fractal analysis on over 50 of Pollock'southward works.^{[91] [92] [93] [94] [95] [96] [97] [98] [99] [100]} A 2015 report that used fractal analysis equally ane of its techniques achieved a 93% success charge per unit distinguishing existent from simulated Pollocks.^[101] Current research of Fractal Expressionism focuses on human response to viewing fractals. Cerebral neuroscientists have shown that Pollock's fractals induce the same stress-reduction in observers as reckoner-generated fractals and naturally-occurring fractals.^{[102] [103]}

Archives [edit]

Lee Krasner donated Pollock'southward papers to the Archives of American Art in 1983. They were afterward archived with her own papers. The Athenaeum of American Art also houses the Charles Pollock papers, which include correspondence, photographs, and other files relating to his brother Jackson.

A separate organization, the Pollock-Krasner Foundation, was established in 1985. The foundation functions equally the official estate for both Pollock and his widow, just as well under the terms of Krasner'south will, serves "to assist individual working artists of merit with financial demand".^[104] The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society.^[105]

The Pollock-Krasner House and Studio is endemic and administered past the Stony Brook Foundation, a nonprofit chapter 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 result of existence his principal painting surface from 1946 until 1953

• (1942) Male person and Female Philadelphia Museum of Art^[106]
• (1942) Stenographic Figure Museum of Modern Art^[107]
• (1942) The Moon Adult female Peggy Guggenheim Collection^[108]
• (1943) Landscape Academy of Iowa Museum of Fine art,^[109] given by Peggy Guggenheim^[110]
• (1943) The She-Wolf Museum of Modern Art^[111]
• (1943) Blue (Moby Dick) Ohara Museum of Art^[112]
• (1945) Night Mist Norton Museum of Fine art^[113]
• (1945) Troubled Queen Museum of Fine Arts, Boston^[114]
• (1946) Optics in the Heat Peggy Guggenheim Drove, Venice^[115]
• (1946) The Primal Art Plant of Chicago^[116]
• (1946) The Tea Cup Drove Frieder Burda^[117]
• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Fine art^[118]
• (1947) Portrait of H.M. University of Iowa Museum of Art, given past Peggy Guggenheim.^[119]
• (1947) Full Fathom 5 Museum of Modern Fine art^[120]
• (1947) Cathedral Dallas Museum of Fine art^[121]
• (1947) Enchanted Forest Peggy Guggenheim Collection^[122]
• (1947) Friction match The Anderson Collection at Stanford University^[123]
• (1947) Bounding main Alter Seattle Fine art Museum, given by Peggy Guggenheim^[124]
• (1948) Painting ^[125]
• (1948) Number 5 (4 ft x 8 ft) Private collection
• (1948) Number 8 Neuburger Museum at the Land Academy of New York at Purchase
• (1948) Number 13A: Arabesque Yale Academy Art Gallery, New Haven, Connecticut
• (1948) Limerick (White, Black, Blue and Red on White) New Orleans Museum of Fine art^[126]
• (1948) Summer: Number 9A Tate Modern
• (1948) "Number 19"^[127]
• (1949) Number 1 Museum of Gimmicky Art, Los Angeles^[128]
• (1949) Number 3 Hirshhorn Museum and Sculpture Garden, Washington, D.C.
• (1949) Number 10 Museum of Fine Arts, Boston^[129]
• (1949) Number 11 Indiana Academy Art Museum Bloomington, Indiana^[130]
• (1950) Number 1, 1950 (Lavender Mist) National Gallery of Art^[131]
• (1950) Mural on Indian red ground, 1950 Tehran Museum of Gimmicky Art^[132]
• (1950) Autumn Rhythm (Number 30), 1950 Metropolitan Museum of Fine 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 Mod Fine art^{[136] [137]}
• (1951) Number 7 National Gallery of Art^[138]
• (1951) Blackness and White (Number 6) San Francisco Museum of Mod Art
• (1952) Convergence Albright-Knox Art Gallery^[139]
• (1952) Blueish Poles: No. 11, 1952 National Gallery of Australia^[140]
• (1952) Number 12, 1952 Governor Nelson A. Rockefeller Empire State Plaza Art Collection^[141]
• (1953) Portrait and a Dream Dallas Museum of Art^[142]
• (1953) Easter and the Totem The Museum of Modern Art^[143]
• (1953) Bounding main Greyness Solomon R. Guggenheim Museum^[144]
• (1953) The Deep Centre Georges Pompidou^{[145] [146]}

References [edit]

1. ^ ^{a b} Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog. New York: The Museum of Modernistic Art. pp. 315–329. ISBN978-0-87070-069-9.
2. ^ ^{a b} Horsley, Carter B., Mud Pies, Jackson Pollock, Museum of Modern Art, November one, 1998 to Feb 2, 1999, The Tate Gallery, London, March 11 to June 6, 1999: "While it is de rigueur to concentrate on the signature works that define an creative person's 'mode', it is very important to understand its evolution..."
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Farther reading [edit]

• Herskovic, Marika (2009). American Abstract and Figurative Expressionism Manner Is Timely Fine art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. New York Schoolhouse Press. pp. 127, 196–9. ISBN978-0-9677994-two-i. OCLC 298188260.
• Herskovic, Marika (2003). American Abstract Expressionism of the 1950s An Illustrated Survey. New York School Press. pp. 262–5. ISBN978-0-9677994-1-4. OCLC 50253062.
• Herskovic, Marika (2000). New York School Abstract Expressionists Artists Choice 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 Mod Art. ISBN978-0-87070-037-eight.
• Varnedoe, Kirk; Karmel, Pepe (1998). Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition itemize. New York: The Museum of Modern Art. ISBN978-0-87070-069-nine.
• O'Connor, Francis Five. (1967). Jackson Pollock [exhibition catalogue]. New York: Museum of Mod Art. OCLC 165852.
• Taylor, Richard; Micolich, Adam; Jonas, David (Oct 1999). "Fractal Expressionism". Physics World. 12 (x): 25–28. doi:10.1088/2058-7058/12/10/21. Archived from the original on Baronial 5, 2012. Retrieved September 18, 2015.
• Naifeh, Steven; Smith, Gregory White (1989). Jackson Pollock: an American saga . Clarkson N. Potter. ISBN978-0-517-56084-vi.
• Smith, Roberta (February 15, 2002). "Art in Review". The New York Times.
• mcah.columbia.edu

External links [edit]

• Exhibition-'Memories Arrested' 2012
• Pollock-Krasner Firm and Report Middle
• Pollock-Krasner Foundation
• Pollock and The Law
• National Gallery of Fine art web feature, includes highlights of Pollock's career, numerous examples of his work, photographs and move footage of Pollock, plus an in-depth word of his 1950 painting Lavender Mist
• Blueish Poles at the NGA
• Fractal Expressionism – the fractal qualities of Pollock'south drip paintings.
• Jackson Pollock Papers at the Smithsonian'due south Archives of American Art
• "Jackson Pollock, John Muzzle and William Burroughs", talk at MOMA
• pictures of Pollock, slideshow Life Magazine
• Works past Jackson Pollock (public domain in Canada)

Museum links

• Jackson Pollock at the Museum of Modernistic Art
• The Solomon R. Guggenheim Foundation
• Los Angeles Canton Museum of Art (LACMA), Los Angeles, California
• Museum of Contemporary Fine art (MOCA), Los Angeles, California
• Jackson Pollock at the State of israel Museum, Jerusalem

romolinto1951.blogspot.com

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

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