Analysis Of ' Blue Poles '

Jackson Pollock was not known for painting images, that's because he didn't use a brush He believed the brush would interfere with the dripping of the paint. Instead Jackson used a stick to pour paint onto the canvas. He would change the color, type of paint, and the thickness of the paint as the work progressed. Therefore, the painting would reflect the movements of his arm and body as he applied the paint. The activity of the painting would become part of the painting itself. That style of painting is called action painting. Jackson Pollock was the first "all-over" action painted just like Cernuschi stated on page 67 in his book Meaning and Significance, "He painted no image, just action." It looked like Pollock almost imitated a dance. Pollock dripped paint all over the canvas, but always had total control of where the splash of paint would be. That is how he got his nickname "Jack the

In Wassily Kandinsky's excerpt from Concerning the Spiritual in Art, he argues that art is supposed to make one’s soul resonate through the discovery of the unknown and color. Kandinsky claims that at first art is only understood by one person, usually the original artist, and it then slowly expands to more and more people as they look at the art. This allows them to discover something the previously did not know or understand. He then claims that color affects the viewer in two distinct ways: physically and psychologically. Using these two claims, he supports his argument that art allows the soul to feel in ways that are not possible otherwise.

Pollock explicates that the once again the reason for these differences goes back to the fact of the differences of men and women in the social realm. She describes the fact that the proximity of figures in their works of art, such as Morisot's painting The Harbor at Lorient. In this painting the figure is seated in the extreme right of the picture, isolated. To Pollock, Morisot was trying to show "...the boundary between the spaces of masculinity and of femininity inscribed at the level of both what spaces are open to men and women and what relation a man or woman has to the space and its occupant (Pollock, 251)". Pollock goes on to state how Cassatt does the same thing, just in a different way. Cassatt uses proximity in her works usually by making the figure dominate the work, therefore "The viewer is forced into a confrontation or conversation with the painted figure while dominance and familiarity are denied by the device of the averted head… (Pollock, 251)".

Pollock is known as one of the most influential scholars of modern, avant garde, postmodern and contemporary art. “Griselda Pollock continually challenges the dominant museum models of art and history that have been so excluding of women’s artistic contributions and articulates the complex relations between femininity, modernity, psychoanalysis and representation.” (Boundless, 2015) She is known as a major influence in feminist theory, gender studies and feminist art history. Griselda Pollock’s approach to art history and criticism utilises the central tenets of Marxism critical approach to society and culture, extending the existing framework of historical materialism to compose new feminist analyses of sexuality and gender identity. Pollock embraces the Marxist assertion that society is structured by relations of material inequality, but contends that society is equally structured by sexual inequality and gender divisions. Pollock determines that the exclusion and denigration of female artists in art history is a product of the patriarchal structure of bourgeois ideology. Despite women being involved in art making, twentieth century art history continues to define the artist and the artwork as a masculine phenomenon. As art and culture is marketed and produced by a culture industry that exists to perpetuate and reinforce bourgeois culture, hegemonic art history and criticism actively works to justify this

Kandinsky transformed colour into a completely abstract art absolutely divorced from subject matter. The fauvists and expressionists shared an appreciation of the pure and simplified shapes of various examples of primitive art, an enthusiasm that was generated by Gauguin and extended to Picasso, Brancusi, Modigliani, Derain, and others.

Paul Klee and his works are a direct representation of 20th century art. Klee’s roots in Futurism, Cubism, Surrealism, and Expressionism combined with his natural gift for drawing make him truly one of the most unique abstract artists of his time. Most artists of the time were trying to break away from traditional concrete artwork, however few succeeded with such natural beauty and talent like the simplicity of Klee’s paintings. Klee’s connection to 20th century art can be summed up in one quote by the famous artist: “art does not represent the visible; rather it renders visible (the

The innovative and passionate presence in both Jackson Pollock’s and Wassily Kandinsky avant-garde paintings exemplifies the redefinition of boundaries throughout their art making practices. Both artists challenged traditions both materially and conceptually using innovative and diverse approaches to materials and techniques when painting. Wassily Kandinsky goes against traditions and academies to create vivid, sensual and symbolic large-scale semi abstract expressionist oil paintings in a heightened state of mind. Many artworks of his convey bright and cheerful spontaneous colours that make the audience fully consumed within his works due to hypnotic and distorted semi realist shapes. Consequently, Jackson Pollock also goes against

His personal technique in gesture and action painting was applied as directly as possible. Pollock said that through this active process, he could "literally be in the painting". This describes the term coined "action painting". He also said, "When I am in my painting, I'm 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

Wassily Kandinsky was a Russian-born artist, whose contributions to the world of modern art are innumerable. On an artistic level, Kandinsky's maturation process from representational art to abstract art is fascinating. From his earliest work, with an impressionistic flair, to his later work, which was pure abstraction, Kandinsky was an innovator and a genius. He bridged the gap between reality painting of earlier decades and the fantasy pastime of the twentieth century.

Aggressive and harsh, raw in colour, the texture thick and heavy as if it had been relentlessly worked and re-worked over again and again. Pictures don't have the delicacy of Pollock's. Shapes are vaguely suggestive , pressed together, brush strokes are dense

Taking following extreme cases of abstraction, when speaking of Pollock’s work such as his ”Autumn Rhythm” (1950), we realize how the visual formed is fully based on science and gravity that permits the dripping and pouring of the paint on the horizontal canvas. But, by walking around/on the canvas we can argue Greenberg’s analysis and suppose that the painter possibly connects with it, he gets drowned in the act and merges inside the painting while mechanically pouring paint on the canvas. This means that even though the painter tries to focus on the flatness of the painting rather than the content and is physically detached from the canvas, this focus cannot erase an emotional

White light delivers a visually stunning and sensory rich evocation of what art should emanate. The work is energetic and passionately wild. When one looks at the painting it is clear to see all the emotions Pollock holds inside and the desire to keep the pain, torment and other sentiments at bay in order to continue being productive and have some semblance of peace. White Light is a visual representation of this fact and even though the artist tries

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

The “point and line to plane” (Kandinsky 1979:6) is the painting element, such as the letters that make up the word, different combinations will have different effects. As Kandinsky (1979:12) has demonstrated, that point, line and plane is the basic building material of the artwork itself, and that in every different art the elements of art are certainly different. However, it is necessary to first distinguish the basic elements from the other elements, no artwork does not have these artistic elements. Therefore, the common feature between Wassily Kandinsky’s paintings and Guan Zhong Wu’s paintings are point, line

For Rosenberg Abstract Expressionism is not a continuation or explanation on what was in the past or re-defining it as Greenberg had proposed, he says it was losing it. Whereas Greenberg wrote that action painting was a total drift away from art. On the basis where the two critics where trying to convince each other of what is and what art should be they came with a defining type of style of painting in abstract expressionism, well Greenberg’s idea was a response to Rosenberg’s idea of American Action Painting , but its aim was accurate. American Type Painting “is an empirical, sustained, and unrelenting attempt to refute the claim that abstract expressionism painting constitutes a break with the past” (O’Riordan, 1957:5). Greenberg states that art should be a self-justified meaning, art should be able to defend its reality through the means of its features and gives nothing similar to any other, and he then states that if that type of art is seen as similar it should be eliminated, for example “a representation of objects - trees, people, fruits, tables, buildings, horses, etc. they can be produced not only in painting , but just as well, if not better, in sculpture, photography, and film, thus they are not essential to painting and must be discarded in art that aspires to be modern” (O’Riordan, 1957: 6). In Greenberg’s American type painting an artist would be acquired to