Jackson Pollock Freedom and Originality

If people were asked to make a mental picture of a painter working on his work of art, most of them would describe it as a person with a big canvas on a stand in front of them painting the subject which they are looking at. There were two major differences in Pollock's approach to his art compared to other artists. The first major difference was that Jackson painted on the floor. The second difference was that he used a stick instead of a brush. They would say that because they are all not exposed to different types and styles of painting. For those people who do not know much about art wouldn't know the meaning of the painting or how it was created. In some instances people say to themselves, "you call this art, my little brother could

Ici is similar to Pollock’s Number 1 in that it doesn’t have distinct, outlined shapes, and its meaning if left to the interpretation of the viewer. This shows that even almost 40 years after his death, Pollock’s works were still influencing artists. Aside from that, the painting is what I would have seen as stereotypical “modern art”. Splashes and wild brush strokes of bright colors on a large canvas. That was before I learned how to look at art. Now I can see past the initial impression that work makes on me. This work of contemporary art that provokes thoughts and definitely represents the era in which it was

     Color values are strong in this painting. It goes back to what I said about color, but I believe the soft hue of the blue walls against the strong hue of the bed frame and floor provides enough contrast to pull you into the painting. I also like the strong hue of the table. It connects the visual of looking at the chairs and the bed. When you look at the table, your eye cannot help but look at the other furniture.

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

The texture of the painting itself is probably rough. The artist makes no great attempt at conveying implied texture to the viewer. It seems as though implying texture may detract from the overall attitude of the piece. Altogether texture doesn’t play a huge role in this work of art.

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).

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

Autumn Rhythm (Number 30) is Jackson Pollock’s most famous piece that shows action painting, a defining technique of Abstract Expressionism, and his innovative drip painting technique he developed in 1940. Pollock created his piece by placing the canvas on the floor, then he used brushes, or even his hands and started to drip the paint on the surface. His distinct technique of painting makes him absorbed in the creation of his art piece without being aware of what he is doing. Therefore, Pollock is free from realism and from his own self through painting because it relieves his anxiety now that he is focused only on his art. Pollock’s work is classified as non-objective because Autumn Rhythm (Number 30) cannot be related to any recognizable object from real life, so he is not constraint by reality, but goes outside the box as if liberated to soar free and paint from his

Perchuk argues that because men were expressing weak emotions through paintings and that as society accepted, art critiques viewed the paintings and Pollock’s personality emotions of femininity— a masquerade. Perchuk articulated that, “The masquerade of the drip painting offered … unemasculated phallic display to the perceived emasculation … and …the perception of

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

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

world as did in the Paris to New York shift of the 1940's and 1950's.