Thursday, February 20, 2014

Jackson Pollock / Works

1942 Male and Female

WORKS
By Jackson Pollock


1942 Stenographic Figure


My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.

I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.

Jackson Pollock



1942 The Moon-Woman


1943 Blue (Moby Dick)


1943 Guardians of the Secret


1943 Pasiphäe


1943 The Key


1946 Shimmering Substance

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 fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

Jackson Pollock


1947 Cathedral


1947 Full Fathom Five


1947 Galaxy


1948 Number 1A


Number 1A detail


1950 Autumn Rhythm


Autumn rhythm detail


1950 Lavender Mist


1952 Blue Poles


1952 Convergence


Convergence detail


1953 The Deep



Connoisseur, 1962
Norman Rockwell


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