The Image Below Is White Light by Jackson Pollock What School of Art Does This Represent?

Jackson Pollock was a renowned Abstract Expressionist artist from the United states of america. Jackson Pollock's artworks were known as drip paintings and were created by covering a horizontally positioned canvas with dripping pigment. This severe kind of abstraction dissever critics: some applauded the cosmos's spontaneity, while others mocked the haphazard results. Pollock, a alone and turbulent personality, fought with alcoholism for the bulk of his life. This article will delve into the life of Pollock and his artwork through fourth dimension.

Table of Contents

• i Jackson Pollock's Biography
  • 1.1 Early Life
  • 1.two Career
  • 1.3 Jackson Pollock and Lee Krasner
  • 1.four Afterwards Years and Death
• ii Jackson Pollock's Art Style
  • 2.one Art Style
  • 2.2 Disquisitional Argue
  • 2.3 Legacy
  • 2.4 Figurer Fractal Analysis
  • 2.five The Most Expensive Jackson Pollock Painting
• 3 Recommended Reading
  • iii.1 Jackson Pollock (2010) past Ellen Thou. Landau
  • three.2 Jackson Pollock: An American Saga (1998) by Steven Naifeh
• iv Frequently Asked Questions
  • 4.1 How Did Jackson Pollock Dice?
  • 4.ii What Was Jackson Pollock Known For?

Jackson Pollock'due south Biography

Nationality	American
Engagement of Birth	28 January 1912
Date of Death	xi August 1956
Place of Birth	Cody, Wyoming

Pollock's rough and turbulent childhood in the American West molded him into the confident persona he would go. Later, a sequence of inspirations came together to shape the style of Jackson Pollock's paintings: years spent producing realistic murals on a big scale in the 1930s taught him the impact of big paintings; Surrealism gave techniques to express the unconscious, and Cubism directed his grasp of picture space.

Jackson Pollock started seeing a Jungian analyst in 1939 to address his alcoholism, and his therapist urged him to sketch. These would somewhen feed Jackson Pollock's paintings.

They molded Pollock's perception of his works not but as emanations of his own listen, just as representations of all contemporary mankind habitation in the shadow of nuclear war. Pollock's grandeur stems from his cosmos of one of the most radical abstract techniques in contemporary art history, separating line from colour, altering the classifications of sketching and painting, and inventing new ways to depict pictorial space. But how did Jackson Pollock alive and how did Jackson Pollock die? First, permit the states begin with our Jackson Pollock biography.

Early Life

Paul Jackson Pollock, the youngest of five children, was built-in in 1912 in Cody, Wyoming. His female parent, Stella, brought her children to San Diego in Nov 1912; Jackson was only 10 months old at the time and would never get dorsum home to Cody. He initially went to Transmission Arts High School in Los Angeles, simply he was subsequently dismissed.

A 1928 studio portrait of artist Jackson Pollock at about age 16; Smithsonian American Art Museum , Public domain, via Wikimedia Commons

He had previously been dismissed from yet another loftier school in 1928. Pollock became interested in Native American traditions while on survey excursions with his male parent equally a child. He relocated to New York City with his brother Charles in 1930, and they attended the Art Students League and trained under Thomas Hart Benton.

Jackson Pollock's artwork was more influenced past his rhythmic oil paint and his furious individuality than by Benton'southward pastoral American subject material.

Career

David Alfaro Siqueiros, a muralist creative person from Mexico, introduced Pollock to the usage of liquid paint in 1936 during an exploratory session in New York City. Eventually, in Jackson Pollock's paintings from the early 1940s, such as Male and Female, he utilized drip painting as one of the numerous processes.

After relocating to Springs, New York, he started to paint on the workshop floor with his canvas, developing what became known as his "drip" style.

He was attempting to overcome his long-standing alcoholism at the time; from 1938 to 1941, he attended Jungian psychotherapy, which he completed in 1941 and 1942. He was encouraged to sketch past the therapist, who engaged him via his art. Jackson Pollock's artworks reflected Jungian notions and archetypes. Some historians speculate that Pollock may have suffered from bipolar affliction. In July 1943, Pollock entered into a contract with Peggy Guggenheim.

He was commissioned to construct the artwork Landscape (1943) for the entrance of her new mansion. Pollock produced the slice on canvas rather than the wall, at the request of her friend and advisor Marcel Duchamp, then that it might exist moved. Cloudless Greenberg remarked afterward witnessing the large mural, "it only took a single glance to realize, 'Now that's magnificent art,' and I stated that Jackson Pollock was the best painter this nation had produced."

Pollock's skill was praised as "volcanic" in the booklet for his debut evidence. "Information technology'due south on fire. It generates unpredictability. It lacks discipline. It oozes out of itself in a mineral prodigality that has yet to solidify" continued Greenberg.

Pollock's Drip Painting Period

Pollock'southward most renowned works were created betwixt 1947 and 1950, during the "drip painting phase." He rose to prominence when an article in Life mag o the 8th of August, 1949, posed the question, "Is he the finest artist in America?" Thanks to the cooperation of Pollock's close friend Alfonso Ossorio, Paul Facchetti (the gallery owner) was able to produce the commencement exhibit of Jackson Pollock's artworks in his studio on the seventh of March, 1952.

Jackson Pollock became an overnight star equally a result of this. His painting technique was over-analyzed, eliciting both acclaim and derision. This newfound prominence did not sit well with Pollock'south mental state. As a event, his notoriety was brusk-lived, as the strain led him to retreat socially and creatively. Therefore, Pollock unexpectedly deserted the drip method at the height of his success.

Number 1 (Lavender Mist) (1950) by Jackson Pollock that demonstrates his iconic drip-way, located in the National Gallery of Art in Washington, D.C., United States;Jackson Pollock, CC By-SA 4.0, via Wikimedia Commons

Jackson Pollock's artwork afterwards 1951 was deeper in tone, including a series created in black on unprimed canvases. These works have been dubbed his "Black pourings," so when he showed them at the Betty Parsons Gallery, absolutely none of the works were bought. These pieces bear witness Pollock seeking to strike an equilibrium between abstraction and portrayals of the homo figure.

He eventually reverted to color and proceeded with figurative themes.

During this period, Pollock had switched to the Sidney Janis Gallery, a more corporate art gallery, and his art was in considerable demand amongst buyers. His drunkenness worsened in reaction to this strain, also every bit emotional dissatisfaction.

Jackson Pollock and Lee Krasner

In 1942, the two painters met when both were exhibiting at the McMillen Gallery. Krasner was unfamiliar with Jackson Pollock's paintings just was interested in them, then he went to his residence unexpectedly afterward the gallery show to see him. The two married in October 1945, with eyewitnesses present. They purchased a house and barn and Pollock used the barn as a workspace.

It was in this location that he honed his enormous "baste" method for working with paint, which would become synonymous with the artist.

When the couple was no longer working, they spent their fourth dimension home baking and cooking, working on the garden, and entertaining guests. Due to the emergence of feminism at the time, commentators began to rethink Krasner'south consequence on her hubby's artwork in the latter part of the 1960s. Krasner'southward excellent understanding and expertise in modern art and methods aided her in bringing Pollock up to speed with what modern fine art should be.

Photograph of artist Lee Krasner, Pollock's wife, taken in 1983; Gotfryd, Bernard, photographer, Public domain, via Wikimedia Eatables

Krasner is widely regarded as having taught her husband the fundamentals of modernist painting. Pollock was therefore able to arrange his arroyo to a more ordered and international genre of contemporary art, and Krasner became the only assessor he could rely on. Pollock would respect his colleagues' judgments on what worked and didn't work in his creations during the get-go of the two artists' spousal relationship.

Krasner was besides crucial in exposing him to a number of collectors, reviewers, and painters who would assist him in advancing his profession equally a young painter. Art historians frequently analyze Jackson Pollock's effect on his wife's works.

Many people believed Krasner started to replicate and recreate her husband's wild paint spills in her own art. Co-ordinate to numerous versions, Krasner planned to use her intuition as a means of progressing toward Pollock's "I am nature" method to imitate nature in her work.

After Years and Decease

Pollock completed his final 2 works, Search and Sent, in 1955. In 1956, he did not produce paintings at all; instead created sculptures out of wire, gauze, and plaster at Tony Smith'south house. They are shaped by sand-casting and feature extremely textured features similar to those used by Pollock in his paintings. Pollock and Krasner'south partnership began to deteriorate in 1956 as a upshot of Pollock'southward continued drinking and adultery with Ruth Kligman.

Pollock died in a unmarried-machine standoff in his Oldsmobile convertible on the 11th of August, 1956, while driving intoxicated. Krasner was seeing friends in Europe at the fourth dimension, and she returned chop-chop after hearing the information from a friend. Edith Metzger, one of the occupants, as well died in the tragedy, which happened less than a mile from the artist's house. Ruth Kligman, Pollock'south lover, was the but rider who survived.

Pollock was honored with a memorial commemorative prove at the Museum of Modern Art in New York Metropolis in Dec 1956. In 1967, a larger, more complete exhibition of Jackson Pollock'southward artwork was presented there. Pollock is often assumed to have suffered monetarily during his life. True, he was once so destitute that he had to work as a cleaner and stole nutrient to survive. Nevertheless, his financial circumstances significantly improved over time.

Pollock was making almost five times the average yearly pay towards the finish of his life. Some of his works got as much as $6000, which was a lot to spend for an artwork at the time.

Savvy fine art collectors had recognized Pollock'south paintings' futurity potential worth, placing him in a secure financial situation. Furthermore, afterward Pollock died in 1956 at the historic period of 44, his widow Lee Krasner gained greatly from the soaring value of his paintings.

Jackson Pollock'south Art Style

Pollock was influenced by the work of Pablo Picasso, Thomas Hart Benton, and Joan Miró. Pollock began utilizing synthetic resin-based paints known as alkyd enamels, which were a revolutionary medium at the fourth dimension. Pollock described his utilization of commercial paints instead of artist's pigments as a "natural growth out of a necessity."

He used stiff paint brushes, sticks, and sometimes even syringes to apply pigment.

Art Style

Pollock's pouring and flowing paint technique are regarded to be one of the roots of the phrase "activeness painting." Pollock was able to create his own trademark style palimpsest paintings using this technique, with paints pouring from his selected instrument onto the canvas. By rejecting the standard of working on a vertical surface, he brought a new dimension to his paintings by allowing him to observe and employ paint from all angles.

Pollock broke away from realistic representation and questioned the Western practice of employing easel and brush while painting in this manner. He painted with the power of his entire torso, as seen by the gigantic canvases.

According to i of Jackson Pollock'due south quotes: "My painting is not created on an easel. I like to affix the stretched canvas to a firm wall or the flooring. I require the tensile force of a difficult surface. I feel more comfortable on the floor because I tin wander around it, working from all four sides, and truly exist in the painting this fashion. I'm abandoning typical painter's tools such as sheet easels, palettes, paint brushes, then forth. Sticks, knives, flowing fluid paint, or a strong impasto with grit, drinking glass shards, or other foreign objects are my preferred tools."

The She-Wolf(1943) past Jackson Pollock, located in the Museum of Mod Fine art in New York City, Us; Jackson Pollock, CC By-SA 4.0, via Wikimedia Commons

In the 1940s, Pollock saw Native American sandpainting performances. Pollock claimed, regarding his approach of painting on the floor, "I experience closer to the picture, more than a function of it, since I can go around information technology, work from all four corners, and physically exist in it."

His drip method was besides influenced past Surrealist automatism as well as Mexican muralists. Pollock disputed relying on "accidents," claiming that he typically had a notion of how he wanted a specific piece to look. His method combined the controllable move of his body, the fluid menses of color, the gravity forcefulness, and the soaking of paint into the fabric. Information technology was a confluence of controllable and uncontrollable variables. He'd motion about the painting, as if in a trance, tossing, pouring, spilling, and spattering, and wouldn't quit until he observed what he wanted to encounter.

Photographer Hans Namuth, later taking pictures of Pollock at piece of work, made the following observations: "The entire floor was covered with soaking wet canvas. There was totally serenity. Pollock had a peek at the artwork. Then, suddenly, he took up a paint tin and a paintbrush and began to move nearly the canvas. It was as though he abruptly remembered he hadn't completed the picture.

Ho-hum at get-go, his motions got quicker and more dance-like as he tossed black, white, and rust-colored paint into the canvas. It was as if he had completely forgotten that I was there; he didn't seem to feel the photographic camera shutter snap. My photography shoot lasted around one-half an hour, or equally long as he continued creating. Pollock never stopped working throughout that menstruum. How could someone maintain this amount of action? "This is it," he eventually said.

Pollock's best works show that his all-over line does non create negative or positive areas: nosotros are not led to believe that one section of the canvas requires to be interpreted equally a figure, whether abstraction or figurative, while another office of the canvas is interpreted as ground. Pollock'southward line and the area through which it flows have no interior or outside. Pollock has been successful in liberating line from the work of describing or confining shapes or characters on the canvass's surface, in addition to its duty of depicting external objects."

Pollock dropped labels and began numbering his paintings in social club to avoid the audience's hunt for figurative aspects in his artworks. "Look attentively and endeavour to accept what the picture has to offer without bringing a discipline matter or predetermined understanding of what they are to exist searching for," he stated. "He used to give his images traditional titles, but now he just numbers them," his married woman stated. "Numbers are a neutral medium. They force people to look at an artwork for what it is: pure art."

Pollock was influenced by Austrian artist Wolfgang Paalen'south essay on totem artwork of the native peoples of British Columbia, in which the notion of space in totemist art is explored from a creator's viewpoint; Pollock held a signed edition of Paalen'south magazine. He'd also seen Paalen's surrealist works at a 1940 exhibition. Paalen'south surrealist fumage method, which resonated with painters seeking fresh ways to express what was dubbed the "unobserved" or the "possible," must have had a profound impact as well.

Pollock'south extreme abstraction appeared to hope phenomenal new liberty for art, merely semblances of identifiable imagery remained in the background of his works. Bluish Poles (1952) is a large expanse linked together past diagonal lines. Amidst the boggling variety of furnishings, one: Number 31 (1950) preserves a distinct impression of rhythmically moving figures. Pollock may take forsaken his youth'southward realism, but he was notwithstanding able to make his works elegantly symbolic. Ane, like so many of his works from this period, creates a sense of grandeur, tying it to the sublime mural tradition that dates back to the 18th century.

It also twinkled as though speckled with light, like to Monet'due south works, and many commentators have wondered as to whether Pollock was inspired by the French Impressionist. Pollock's enthusiasm with figurative imagery was never truly lost – as he once stated, "Part of the fourth dimension, I'yard quite figurative, and some of the time, I'yard not. Figures, on the other hand, are unavoidable when painting from the unconscious." Figuration began to reappear in his piece of work as early on as the late 1940s.

Past the year 1950, his drinking had grown, and he had returned to sketching, recreating some of his previous ideas, and creating a series of mostly white and blackness drip paintings. Some, such equally "Yellow Islands" (1952), incorporate color and are very abstruse; others, such as "Repeat (Number 25)" (1951), are calligraphic in form and only marginally figurative; while however others feature unmistakable depictions of heads. They were not well accustomed when Pollock initially showed them, yet he continued to labor on them until 1953, his terminal prolific year of piece of work.

Critical Debate

Famous Pollock paintings have been the bailiwick of heated discussions. Several Jackson Pollock artworks were formerly dismissed past critic Robert Coates every bit "simply unstructured blasts of random energy, and hence useless." In a 1959 headline, Reynold's News stated, "This is non art—it'southward a terrible joke." When Jean Hélion first saw a Pollock, he noted, "It filled out area going on and on since it didn't have a get-go or an cease to it."

For formalistic reasons, Clement Greenberg backed Pollock'south works. Information technology corresponded to Greenberg's vision of fine art history as a gradual purity of form and eradication of historical substance.

A bollard in Winchester, England, painted by The Color Factory in the mode of Summertime by Jackson Pollock;Andy Mabbett, CC BY-SA 3.0, via Wikimedia Commons

He believed Pollock'south art to be the greatest of its time and the pinnacle of the Western heritage from Cubism to Cézanne. Harold Rosenberg invented the phrase in 1952 "activeness painting," he said, explaining that "what was to put on the board was not an image only an experience."

The breakthrough moment arrived when information technology was determined to paint "but for the sake of painting." The motion on the canvas represented a release from value—political, creative, and moral. Many individuals idea he patterned his "action painter" concept after Jackson Pollock.

Legacy

Pollock's straight legacy was felt well-nigh strongly by other painters. His art included aspects of Surrealism, Cubism, and Impressionism while transcending them all. Aside from that accomplishment, even greats like de Kooning, who stayed closer to Cubism and clung to figurative fabric, just seems to fall short. And the greatest of later generations of artists would accept to struggle with his legacy, merely as Pollock had done with Picasso.

Equally early as 1958, when groundbreaking conceptual artist Allan Kaprow directly confronted the bailiwick of Pollock's touch in an essay for Art News, others wondered if Pollock had even freed up alternatives outside of the sphere of painting.

To paraphrase critic Harold Rosenberg, Pollock re-envisioned the canvas as "a stadium in which to act" rather than "a identify in which to replicate, re-design, examine, or 'communicate' an object."

Jackson Pollock (rear) and Lee Krasner'due south (front) gravestones in Green River Cemetery in Springs, New York, The states;Americasroof, CC Past-SA two.5, via Wikimedia Commons

It was just a curt step from this awareness to viewing Pollock's balletic movements around the painting every bit a type of functioning art. Pollock's fame has only grown since then. He has been the focus of several biographies, a film biography, and major retrospectives, and he has become not but 1 of the most recognized icons of the discrete modernistic painter, only likewise an incarnation for critics and historians of American modernism at its summit.

Helen Frankenthaler and Morris Louis, both Colour Field artists, incorporated Pollock's staining into a bare canvas. Frank Stella developed "all-over composition" a trademark of his 1960s work. Pollock'due south emphasis on the process of production has been kept past Allan Kaprow, Richard Serra and Eva Hesse, and many modern artists; they were afflicted by his attitude to the technique, rather than the aesthetic of his piece of work.

In the early 1990s, three different groups of filmmakers were working on Pollock biopics, each relying on a distinctive source. The most developed project appeared to be a collaboration between Barwood Films and TriBeCa Productions. Christopher Cleveland's script was based on To a Vehement Grave past Jeffrey Potter, an anthology of Pollock'due south acquaintances' memories. Streisand was to portray Lee Krasner, while De Niro was to portray Jackson Pollock.

A 2d film was to exist centered on Ruth Kligman'southward biography Honey Affair (1974), almost Pollock'due south girlfriend in the six months before his demise. Harold Becker was set to direct, and Al Pacino would portray Pollock.

Computer Fractal Assay

Richard Taylor, a physicist and artist, utilized computer analysis in 1999 to reveal parallels between Pollock'due south created patterns and fractals seen in natural surroundings, echoing Pollock's ain words "I am Nature." Pollock's way was labeled as fractal expressionism by his report team. 24 Pollockesque artworks and doodles were discovered in a locker in Wainscott, New York, in 2003.

The Pollock-Krasner Foundation asked that fractal analysis be applied in an authenticity outcome for the first time. The arroyo was utilized by academics at the University of Oregon to notice discrepancies betwixt the patterning in the 6 controversial paintings evaluated, and those in 14 known Pollocks also.

Pigment examination of the artworks by Harvard University experts revealed the existence of an artificial pigment that was non trademarked until the 1980s in one work, and ingredients in two more that were not accessible during Pollock's lifetime.

Pollock Matters, a comprehensive book written by Ellen Yard. Landau, 1 of the four remaining professionals from the prior verification committee from the 1990s, and Claude Cernuschi, an Abstract Expressionist specialist, was released in 2007. Landau's book establishes the various ties betwixt the artworks' owners' family and Jackson Pollock throughout his lifetime to situate the works of fine art in what she considers to exist their right historical context.

Landau too discusses Harvard University'due south forensic results and possible reasons for the forensic irregularities discovered in iii of the 24 works. Nevertheless, the scientist who produced ane of the gimmicky pigments regarded Pollock's employ of this paint as "improbable to the point of fiction." Over 10 scientific organizations have since undertaken fractal assessment on over l of Pollock'south paintings.

A 2015 research that employed fractal assay as one of its approaches had a 93 percent success rate in discriminating between authentic and fake Pollock works. Fractal Expressionism's current study focuses on the human reaction to perceiving fractals. Pollock's fractals, like computer-generated fractals and Nature's fractals, have been demonstrated by cognitive neuroscientists to reduce stress in onlookers.

The Most Expensive Jackson Pollock Painting

The nearly expensive Jackson Pollock painting was sold in 2013 by Christie's. The piece, Number 19 (1948), sold for US$495 million. The artwork is easy to disregard equally a meaningless spatter of paint—merely even if you lot tin't comprehend its beauty, this artwork has a history worth its weight in gold.

Jackson Pollock's art was groundbreaking on several levels. For ages, painters have sketched out or run big-calibration paintings.

Pollock, on the other manus, was directed past passion and intuition equally he wound around his fiberboard foundation, dripping and tossing paint as his inspiration dictated. He eschewed brushstrokes in identify of drips and splashes, and his spontaneous masterworks lit up the art world. Pigment with a flowing viscosity that allows for seamless pouring was an essential component of the drip technique. Because of this status, regular oil paints were not permitted.

Instead, Pollock started dabbling with constructed gloss enamel paints, which were displacing sometime-fashioned, oil-based abode paints. Though this vivid discovery was lauded, Pollock dismissed it equally "a natural evolution out of a necessity."

While art experts gushed and collectors paid millions for a Pollock painting at auction, a large section of the public is however perplexed past the artist'southward work threescore years later on. Every fourth dimension one of his artworks sells for millions of dollars, journalists question why. The simple respond is that, while his drip paintings are not easily accessible, they were pivotal in redefining our perception of art itself despite the thought that they are not usually attractive.

Recommended Reading

Pollock's painting method, in which he stained onto bare canvases, was favorably welcomed and emulated in the creative world. Pollock's art has also influenced several sculptures throughout the years. Pollock's meaning impact and the creative following may be linked to the focus he placed on the process of production rather than the appearance of his piece of work. Mayhap you are interested in learning fifty-fifty more almost his fine art and life. We tin suggest checking out a Jackson Pollock biography or volume almost his fine art.

Jackson Pollock (2010) by Ellen Yard. Landau

How did the renowned creative person Jackson Pollock become a Beat Generation cult figure? And what is it that has led his reputation to soar? This captivating and unique Abrams archetype situates the painter in the context of his period, recreating New York's social and cultural temper in the 1940s. The writer retraces several of Pollock's far-flung origins of work using considerable data of Pollock'south habits – well-nigh of it gathered via interviews – his readings, his word, and the exhibits he saw.

A plethora of comparison pictures of paintings past painters Pollock loved help to embrace the work of this complicated, sad, and incalculably powerful private. Pollock'southward big, dramatic canvases are recreated in five hues to capture the brilliance of his tonal network, aluminum pigment, and dazzling collage components. Six gatefolds display his massive horizontal paintings without deformation, and a timeline summarizes the of import events in Pollock's life.

• Six gatefolds show Pollock's vast horizontal works without distortion
• Chronology provides a summary of the major events of Pollock'due south life
• Elaborates the development and story of Pollock's impressive career

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Jackson Pollock: An American Saga (1998) by Steven Naifeh

This is the first book to examine a great creative person's life with the psychological depth that distinguishes the finest biographies of literary and political personalities. During their eight-year investigation, the writers discovered previously unpublished letters and papers, got entry to medical and psychiatric data, and met dozens of the artist's colleagues and associates whose tales had never been shared.

They were also the commencement biographers in xx years to work with Pollock's widow, Lee Krasner. The upshot of these unparalleled efforts is a rich, sweeping, historic biography of 1 of the almost intriguing people in American society; a bright, explosive "picture of the artist," extensively researched, and lavishly illustrated volume.

• A definitive record of the journeying of Jackson Pollock
• Filled with piercing psychological insights well-nigh the creative person
• Brings you to an understanding of the power of his creative genius

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Jackson Pollock, a famous 20th-century artist, changed the realm of gimmicky art with his distinctive abstruse painting methods. Jackson Pollock trained under Thomas Hart Benton earlier abandoning established methods to experiment with abstract expressionism through his splatter and action paintings, which entailed pouring paint and other substances directly onto canvases. Pollock'south traditions earned him both acclamation and scorn. In 1956, he was 44 years old when he died subsequently driving intoxicated and collapsing into a tree in New York.

Oft Asked Questions

How Did Jackson Pollock Dice?

Pollock died in a car incident on August 11th, 1956, while driving under the influence of alcohol. Krasner was in Europe visiting friends at the time, and she returned shortly after hearing the news from a friend. Edith Metzger, i of the occupants, was also killed in the accident, which transpired less than a mile from his firm. Pollock'due south sweetheart, Ruth Kligman, was the sole passenger who survived.

What Was Jackson Pollock Known For?

Pollock's flowing and pouring painting way is credited with helping to popularize the phrase, activity painting. He was able to create his ain distinct aesthetic using this method, with colors streaming from his selected tool onto the surface. He added a new dimension to his paintings by rejecting the convention of working on a vertical platform, allowing him to examine and apply paint from all angles. Jackson Pollock'south art has been widely criticized, with some applauding information technology as the finest paintings of its time and others dismissing it as a bad-natured joke. Despite such divergences of opinion, Pollock was undeniably i of the near of import painters of his day, and some of his works have sold for among the highest prices e'er paid for a painting. Furthermore, an test of his work reveals that his drip paints closely mimic complicated repeating patterns observed in nature.

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Source: https://artincontext.org/jackson-pollock/

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