In short, part-to-whole or part-to-part relationships, no matter how strained, were at least a good fifty percent of making the picture. Most of the time it was a lot more, maybe ninety percent. Here the direct application of an automatic approach to the act makes it clear that not only is this not the old craft of painting, but it is perhaps bordering on ritual itself, which happens to use paint as one of its materials.
The European Surrealists may have used automatism as an ingredient but hardly can we say they really practiced it wholeheartedly. In fact, it is only in a few instances that the writers, rather than the painters, enjoyed any success in this way. Hardly automatic, at that. And such real talents as Picasso, Klee and Miro belong more to the stricter discipline of Cubism than did the others, and perhaps this is why their work appears to us, paradoxically, more free.
Surrealism attracted Pollock, as an attitude rather than as a collection of artistic examples. This was his conscious artistry at work and it makes him a part of the traditional community of painters. The painterly aspects of his contemporaries, such as Motherwell, Hofmann, de Kooning, Rothko, even Still, point up, if at one moment a deficiency in him, at another moment, a liberating feature—and this one I choose to consider the important one.
The artist, the spectator and the other world are much too interchangeably involved here. And if one objects to the difficulty of complete comprehension, I insist that he either asks too little of art or refuses to look at reality. Anywhere is everywhere and you can dip in and out when and where you can. This has led to remarks that his art gives one the impression of going on forever—a true insight.
It indicates that the confines of the rectangular field were ignored in lieu of an experience of a continuum going in all directions simultaneously, beyond the literal dimensions of any work. Though there is evidence pointing to a probably unknowing slackening of the attack as Pollock came to the edges of his canvas, he compensated for this by tacking much of the painted surface around the back of his stretchers.
It is this strange combination of extreme individuality and selflessness which makes the work not only remarkably potent, but also indicative of a probably larger frame of psychological reference. The point is missed and misunderstanding is bound to follow.
But given the proper approach, a medium-sized exhibition space with walls totally covered by Pollocks, offers the most complete and meaningful sense of his art possible. Then scale. Yet we must not confuse these with the hundreds of large paintings done in the Renaissance. Pollock offers us no such familiarity and our everyday world of convention and habit is replaced by that one created by the artist. Reversing the above procedure, the painting is continued on out into the room.
And this leads to our final point: Space. What they discovered is that Pollock manipulated fluid dynamics to create his work, whether it was a conscious decision or not, according to a new study. Some of the iconic pieces Pollock created were not created with a brush, but by pouring paint with the aid of a stick to create overlapping strands and filaments of color.
And those pieces are lacking coiling instability -- the noticeable curls and coils created by a fluid when it's poured. Jackson Pollock, cigarette in mouth, drops paint onto canvas. When he first began painting, Jackson Pollock painted representational objects such as people and animals.
However, he is famous for helping to create a whole new art movement called Abstract Expressionism. An "abstract" image is one where the subject is not represented realistically. Instead, the artist uses color and shapes to suggest the most general qualities of the subject.
Abstract Expressionism is art that shows emotions and ideas through non-representational forms. In Pollock's most famous works, there is no recognizable subject. His art works are large surfaces of canvas completely covered in different colors of paint. However, Pollock did not start out as a revolutionary painter. He developed the artistic process he became famous for over many years. He grew up in the states of Arizona and California. Pollock later said that the wide-open land of these western areas greatly influenced his expansive artwork.
There, Pollock spent a few years studying with the artist Thomas Hart Benton who painted images of every day American life. Pollock's early works are similar to his teacher's kind of painting. However, Pollock slowly left this traditional art education behind. Pollock's work had many other influences.
For example, he liked a group of Mexican painters who made murals. Murals are large images that the artists paint directly onto a wall. Some of these painters were working in New York City in the nineteen thirties, so Pollock was able to see them work. Pollock borrowed several methods and ideas from these artists. They included the use of large canvases, the method of freely applying paint and honoring old and new traditions.
Pollock was also influenced by the Spanish artist Miro. Miro was part of a movement of surrealist painters. Surrealist artists thought that true art comes from a part of the mind called the unconscious. The unconscious controls the area of the mind that produces dreams. With works such as Full Fathom Five , Lucifer, and Lavender Mist, Pollock not only forever changed the painter's "vocabulary," but truly did transcend form and traditional notions of composition to emerge into a realm that was both profoundly original and sublime.
The misunderstandings surrounding Pollock's work, both during his time and today, largely revolve around a lack of knowledge concerning his artistic background and how he arrived at the painting style that's made him so famous and infamous. From his teenage days when he was a student of Thomas Hart Benton , Pollock was engaged in a pitched battle to find ways to artistically express the turmoil that raged within him.
This led him to begin a long and often torturous journey, which soon found him immersed in the indigenous art of Oceanic and African peoples, and especially that of Native Americans. These interests dovetailed into a fascination with Mexican artists such as Siqueiros and Orozco with whom Pollock briefly worked , whose murals and other works proudly drew from these types of influences as well.
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