Jackson Pollock, Green Poles

Klein´s art emerged from serious circumstances. France in the late 1940s was still nation traumatized by World War II. The cultural center of gravity had moved across the Atlantic to New York. The artists who remained in Paris, or at least the good ones, were producing post-apocalyptic work, and out of the same rubble came the much younger Klein.

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

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

(Millhouse, 2011) In the 1980’s Pollock’s Feminism “critiqued the essential myths of individualism, the artist, and the social constructions of femininity and masculinity that define bourgeois culture”. While the 70’s feminism movement aim was to stand next to the existing masculine dominated culture. “Feminism's encounter with the canon has been complexed and many-leveled: political ,ideology,mythological,methodological and psycho-symbolic” (Pollock, 1999). The 1970’s movement was followed by the immediate task which was “the need to rectify the gaps in historical knowledge created by the consistent omission of women of all cultures from the history of art” (Pollock, 1999). The only art that was put on display was significantly male dominated work, if you wanted to see work created by women, you would have to view them “in a basement or storeroom of a national gallery” (Pollock, 1999). Female artists are only known in their own category of female artists while male artists don’t require a separate category . Art that is created by females have been historically dismissed from the art historical canon as craft, as opposed to fine art. The evident of

When you look at the two paintings; “The Starry Night” by Vincent Van Gogh, and “Number 1 1949” by Jackson Pollock; there are a few similarities about the meaning of the works of art. Their background and history are different. These paintings were created in two totally different eras and have different formal and technical aspects. Saying that, these works of art share no spiritual or moral value. Respectively these paintings have a great history and legacy. Two paintings created in different time periods have little in common but yet so much in common.

Vincent van Gogh- Starry Night, 1889, Post impressionism, Oil on canvas, 29 x 36 ¼ in, Museum of Modern Art, NYC

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

Art history: a useless pondering over sketches that have little significance to life, at least this is the notion held by many. Delving into art history is a slippery slope that requires more than any one person knows. James F. Cooper and Alan Wallach explore the considerations art historians go through to decipher the relevancy of artworks. However, James F. Cooper’s arguments retro and one-track minded, while Alan Wallach’s arguments on which artworks to pick apart, the methods to attack them, and the reasons people spend so long analyzing a piece of paper are far more relevant to today’s emerging standards.

In 1939, Jackson Pollock entered psychotherapy for his alcoholism. For him, the doctors saw that producing artwork could serve as a means of therapy for his problem with alcohol. His alcoholism would later come back to haunt him and his works in later years and become the cause of his ultimate demise.

It was after he moved to Long Island that he discovered what he was to be truly famous for, his “drip paintings.” According to the Smithsonian Museum of Art, Pollock began working on the ground, on a not stretched canvas, throwing and dripping raw materials such as sand, tar, and paint on the canvas (2). This was of painting without subject matter is known as “action painting” (2). Indicated by one source, he needed to view his painting from all angles and step around it (National Gallery of Art 2). This is part of the technique and action painter uses to “get into his or her painting.” He had developed the ability to become completely part of his painting (2). In the film Pollock, when Krasner discovers Pollock’s new way of painting she says, “You’ve done it Pollock. You’ve cracked it open.” This is exactly what Jackson did, he “cracked open” the art world, exposing new skin and breaking all the traditions. Rugoff indicates that Pollock, with strong influence, had changed painting from a traditional compositional technique to something else, making his paintings look more as sculptures (442). Along with the finished product, the method Pollock used to paint was “out-of-the-ordinary.” Pollock painted physically, in almost a performance art technique (National Gallery of Art 2). His movements could not be repeated, however, the artwork always came out how the artist wanted it to (2). Pollock says himself

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

In 1930s, the art scene in America was greatly dominated by the practicality and regionalism. The film on Jackson Pollock by Ed Harris presents a powerful picture of Jackson Pollock. The film has performed in an outstanding manner by evoking the true

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 has numerous colors and one can estimate that there are seven colors seen with the naked eye red, yellow, blue, green, grey, white, and black, although tint and shade vary, some of the colors are darker or lighter in value due to the fact that they have been blended into one another. Determining the colors requires a person to look not only on the surface but analyze each layer to arrive at a conclusion of color usage. Pollock dripped paint onto the canvas straight from the tubes which the originated from. Those tubes were also used to create soft peaks and layers to make the artists’ work texturally as intriguing as the color choices. He also used a stick instead of a paintbrush to cast the mediums onto the canvas. Another interesting fact is that Pollock painted with his canvas on the floor to feel a direct connection with his art.

Jackson Pollock was an American artist who was well known for drip painting. He struggled with alcoholism for most his life and he would take his alcohol-induced inspiration and splatter it onto canvas. No. 5, 1948 was a splatter painting composed of grey, brown, white, and yellow gloss enamels. Most people consider it to be a chaotic birds nest, or a fury of emotions. However, it is whatever your eyes choose to see it as.