Jackson Pollock’s Sleeping Effort of is a late work by the artist, evidence of his return to figural references following the poured paintings of –51, which brought him considerable fame. The focus of the composition is a central serpentine Jackson Pollock Essay Example. In the Mural the Biographical Dictionary of Artists, Andromeda states, “that the process was intensified by the “drip” method of paint splashed over a canvas stretched on the floor but it was seen at its most grandiose in Cathedral. ” They also went on to state that Cathedral was the furthest point to Feb 25, · Jackson Pollock observed, "The modern painter cannot express his age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. Each age finds its own technique." Choose three works of mid-twentieth century art that illustrate this idea and discuss them in detail
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Spotlight Essay: Jackson PollockSleeping EffortFirst published March ; updated The focus of the composition is a central serpentine or odalisque-like form that unfolds on the right side of the canvas into an area suggestive jackson pollock essay a landscape, including hills and a deep blue sky. Other forms seem to rise out of the reclining body, metamorphosing into fishlike, birdlike, and flowery petallike forms that hover midway between landscape and woman. The fluid and open shapes suggest a universe of forms in flux, yet they also convey—in their grating masklike allusions, jackson pollock essay, their awkward paint application, and their garish palette outlined in black—a suggestion of psychic unease, even violence.
He also created drips and spatters with this more fluid paint, the physical properties of which were essential to his earlier drip style. Here, though, his primary use of a viscous and clotted oil paint jackson pollock essay with it a sense of material entanglement with a more resistant and difficult medium.
Transitions between color areas are frequently awkward and uncertain, with a muddy gray laid on top of thinly painted orange and globs of pure white squeezed onto a static gray field. Pollock applied saturated blue—along with whites, creamy pinks, coppery oranges, grays, and metallic greens—over a pastel yellow ground, diluted to a thinness that allows the weave of the canvas to show through.
This process, while resulting in shapes that oscillate between figural and spatial allusions in a manner that renders the structure of the forms themselves ambiguous, jackson pollock essay contrasts with his poured paintings, in which the relation between figure and ground disappears into a unitary visual field.
His poured paintings had clearly established his standing as an American originator of extraordinary technical and aesthetic power. As the artist Elaine de Kooning the wife of Willem de Kooning pointed out, to submit to a representational language grounded in nature was to relinquish any claims to the autonomy of art, claims on which this generation jackson pollock essay staked its unique position in history.
Figural forms activated a region of his consciousness that troubled his fleeting sense of accommodation to the world. It also triggered—via a stream of metaphoric linkages— associations with his own youthful emergence into a beleaguered selfhood, a process in which masculine individuation out of the emotionally adhesive—and in his case viscous—matrix of the family was hard-won.
Such pantheism not only reflected his reading and intellectual formation jackson pollock essay was devoted to the teachings of Carl Jung but also provided a sense of relief from the psychic pressures of ego formation and the normative expectations concerning the coherence and unbreachable strength of the male ego.
His aphasia—if such it was—worked to encourage the slippage both linguistic and, I would suggest, jackson pollock essay, visual between things already closely proximate within his psyche yet deprived of any defining context or framework that might maintain their distinction.
Figural allusions recalled Pollock to an unstable field of intersubjective relations in which the boundaries between self and other became dangerously permeable. Without the emotional or psychological context of self-differentiation, jackson pollock essay, the creative transmutation of forms into other forms— swelling hips into hills and horizon—pointed toward a psychic realm of dangerous fluidity, in which the universal principle of metamorphosis he explored with his Jungian analyst now threatened an already fragile sense of self.
Part of a broader postwar generation of New York painters in flight from history, Pollock suffered from a crippling self-consciousness. The artists of the New York School found various unstable resolutions: Apollonian withdrawal, negation, reabsorption, and transformation of historical legacies.
Pollock found release in the alchemy of matter into energy. But by his aesthetic fluency would increasingly give way to clotted surfaces and acid colors that suggest—in a savagely parodic way—the impossibility of escaping history. Flesh meets bone; vision is blinded by the black blossom that pierces the eye. This piece, titled Number 14also used enamel paint. In Number 14 the outline of hills on the right is more clearly traced, and some of the jackson pollock essay found in Sleeping Effortjackson pollock essay, such as faces, are recognizable as well.
If Number 14 is indeed related to the thought process that gave rise to Sleeping Effortit also suggests the process of formal transmutation whereby outlines generate associations with unrelated objects through visual resemblance. For instance, the petal form on the left side of Sleeping Effort relates visually to the flowerlike face on the right in the earlier work, jackson pollock essay. Pepe Karmel New York: Abrams and Museum of Modern Art,17— Thaw date this shift in method to See Jeffrey Potter, To a Violent Grave: An Oral Biography on Jackson Pollock New York: Putnam, Other commentators saw references to Wassily Kandinsky.
Potter, To a Violent Grave Marjorie Luyckx New York: Braziller, In the experimental workshop of David Siqueiros, which Pollock attended in the mids, students also jackson pollock essay with new materials, jackson pollock essay, such as nitrocellulous pigments used in the automotive industry, jackson pollock essay, though they did not use enamel paints. Siqueiros used Duco enamels in his own work.
See Laurence P. Natalie Edgar New York: Midmarch Arts, See Potter, To a Violent Grave For a similar suggestion that the poured paintings concealed figural references jackson pollock essay mother or father, see T.
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Jackson Pollock's Non-Drip Paintings
, time: 11:48Spotlight Essay: Jackson Pollock | Kemper Art Museum
Feb 25, · Jackson Pollock observed, "The modern painter cannot express his age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. Each age finds its own technique." Choose three works of mid-twentieth century art that illustrate this idea and discuss them in detail Jackson Pollock Number 1 (Lavender Mist) Jackson Pollock, Number 1, (Lavender Mist), Jackson Pollock was a bearded shock trooper of modern painting, who spread his canvases on the floor, dribbled paint, sand and broken glass on them, smeared and scratched them and named them with numbers Jackson Pollock Essay Words10 Pages The dominant figure that steered the course of the Abstract Expressionist movement was the infamous painter Jackson Pollock. He was born Paul Jackson Pollock in Cody, Wyoming on January 28,
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