Jackson Pollock Action Painting Analysis

Joseph Hirsch’s painting Daniel was painted in 1976-1977. In 1978 during the153rd Annual Exhibition of the National Academy of Design, it won the First Benjamin Altman (Figure) prize. It measures 38 inches by 45 inches with a five-inch gold wood frame surrounding it. The medium is oil on stretch canvas. Everything within the painting centers on the king 's turned head and Daniel 's pointing finger. According to the placard next to the painting, the artwork depicts a modern day version of the biblical story of Belshazzar’s Feast following the sacking of Jesualism from the Book of Daniel. The painting portrays a seated king, a dozing courtesan and Daniel. The three figures exist as the focal point of the composition. Hirsch applies a strong

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

Jackson Pollock was a legendary, novel, abstract expressionist who has created numerous paintings through his drip-style, action painting technique (Goodnough, 2012). Theosophical influence arose from Phillip Guston and Thomas Hart Benton, while in the early stages of the artist’s life. Muralists, such as Jose Clemente Orozco and Diego Rivera were also admired and studied by Pollock. He was captivated by the unorthodox techniques of David Alfaro Siqueiros which contributed to the abstract style of Jackson Pollock (Solomon, 1987).

When Pollock was witnessed painting, people would refer to him as ‘dancing across the canvas’. Each painting was like a dance routine and he let the painting guide his hand around and around in circles until it was completed. Pollock did not like for his audience to be able to identify any trace of academic artistic quality. He was even notorious for signing his paintings by pressing the palm of his hand down onto the wet paint. It was efficient for him, especially since in his ‘drip’ paintings he would never lift a brush. What this did to his work then was no longer did he display a replica of a scene or person like most landscape and portrait artists, but instead he displayed his fluent motion.

For example, the first painting that stood out to me was, “The Earth Matters”, by Lisa Jennings. The woman in the painting is holding the world in her hand, as she’s stands in a field of tall grass. There is filled space in the field from the tall grass, and empty space in the sky, because of it being clear and blue. The woman has no face, therefore she cannot see her future, but as she gazes down the earth must be important, as she holds it in the palms of her hands. Another painting that stood out to me

Every artist has his or her own style of painting. Each painting tells some sort of story or has some type of personal meaning to the artist. One of the most important figures in modern art is Pablo Picasso. Not only was Pablo Picasso a genius in the field of abstract art, but he also experimented with sculpting and ceramics. Pablo Picasso has taken the world to many places with his unique style of work which is why I believe he is considered to be a genius of the 20th century.

The first work of art, illustrated by Kehinde Wiley, appears to give a realistic feel to the audience. As the painting of the man, the horse, and the sword appears as neither abstract, nor nonobjective. I can see that the painting is oil on canvas. In the background of his painting, it is dark red at the top, and pink towards the middle of the background, with a shade of white just above the neutral scheme of different brown shades representing the muddy ground. The white in the background probably represents the horizon. If you zoom in very, very closely, you can see what looks like a military cannon towards the right side of the painting, emphasizing the environment of a battle soldier. The horse is painted neutrally as well, white,

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

When you look at art, you wouldn’t think that the artist actually put so much thought and emotion into their paintings. Last week, as I viewed some of the paintings in the Appleton Museum I just really wondered what some of the painters were trying to get across with their paintings or at least what they were thinking of as they painted onto the canvas. Some of the painting on the wall were quite interesting and intricate while other were pretty simple and straight forward. Each of painting have something that make them different and unique. Two paintings that caught my attention were: Wanted Poster #5 by Charles White (1969) and The Judgement of Solomon by Joseph Van Severdonck. Both these painting seemed to have something quite interesting.

“The process starts out in an incredibly open way with endless possibilities; the addition of each plane of colour, however, progressively limits the work’s evolution and, ultimately, when a painting ‘works’, it coalesces into a composition that is intuitive and carefully controlled.” GS

The dominant figure that steered the course of the Abstract Expressionist movement was the infamous painter Jackson Pollock. He was born Paul Jackson Pollock in Cody, Wyoming on January 28, 1912. He was the fifth and youngest son and grew up in Arizona and California after his family left him when he was a little over one year old. Pollock's artistic journey began at the Manual Arts School in Los Angeles, California where he joined two of his brothers. From there, he went on to New York to attend the Art Students' League after being convinced by one of his brothers whom also attended the school.

In today’s society we feel a constant need for expressing, or venting, our disgust towards the disappointing events happening across the world. Throughout history, and even today, we see harsh treatment of people because they didn’t meet the “norm” of skin color, sexuality, nationality, ideas, creativeness, gender, success etc.; yet, all calls for opposition and national spotlight has been voiced through some form of art. Art has proven to be an outlet used to give voice to those who need it; with the intent of bringing us together, helping to see the

Characteristics of Abstract Expressionist Paintings-optical buzz, all-over composition, Matisse sometimes painted images on large canvases, as did Picasso but paintings still retained an object like character- the viewer needed to stand back to see the complete composition. Abstract expressionist paintings, on the other hand, draw the spectator into them. The field of vision is thus larger than the field of vision of the spectator, who finds himself in a world beyond measurement (class handouts) "Portable Mural"

One piece of art that caught my interest the most was a painting of a man with part of his face dissolving, like it was being faded away. It caught my attention because I perceived it as if he was slowly

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