Thursday, February 20, 2014

Jackson Pollock / Works

1942 Male and Female

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

No comments:

Post a Comment