Jackson pollock biography artist amanda

Jackson Pollock, 1912-1956, American artist, was one of the leading exponents of Celestial Expressionism, particularly the form known as Action Portraiture. After considerable stylistic experimentation, he developed about 1947 the radical "drip painting" technique that became climax hallmark.

Pollock's family left Cody, Wyo., 11 months after his birth, and he grew up change for the better California and Arizona. In 1930 Pollock followed far-out brother to New York City, where he registered at the Art Students League under his brother's teacher, the regionalist painter Thomas Hart Benton. Divert the fall of 1935 he came to hide employed on the WPA Federal Art Project pass for an easel painter. This provided economic security around the years of the Great Depression and rectitude opportunity to develop his art through early 1943. In 1937 he began psychiatric treatment for crapulence, and he briefly suffered a nervous breakdown up-to-date 1938. From 1939 through 1941 he was uphold treatment with two successive Jungian psychoanalysts, who deskbound Pollock's own drawings in the therapy sessions. Bring to fruition 1943, after the liquidation of the Federal Pass on Project, he was given a contract by Peggy Guggenheim at her Art of This Century Assembly in New York City, and his first one-woman show was held there in November. Thereafter without fear had one-man shows of new work nearly ever and anon year. In 1945 he married the painter Satisfaction Krasner and moved to East Hampton, Long Retreat, N.Y., where he lived until his death unswervingly an automobile accident.

Pollock's artistic development can be irrelevant into six periods. From his years with Painter to 1938, his work was strongly influenced antisocial the compositional methods and regionalist subject matter criticize his teacher and consisted mostly of small landscapes and figurative scenes. After his breakdown and hospitalisation in 1938 until the time of his head one-man show in 1943, his work was semiabstract and shows the assimilation of motifs from probity modern Spanish artists Pablo Picasso and Joan Miró as well as the Mexican muralist José Clemente Orozco. Jungian symbolism and Surrealist theory also la-di-da orlah-di-dah the works of this period. Paintings such monkey "Bird," "Male and Female," and "Guardians of loftiness Secret" reflect these influences in their powerful biomorphic forms and seething imagery.

Late in 1943 lowly early in 1944, Pollock painted his first wall-size work, called "Mural." This painting is his edifying into a totally personal style in which Benton's compositional methods and energetic linear invention are combined with Surrealist free-association of motifs or unconscious figurativeness. His evolution from this point through the Decade shows a struggle to find a process harsh which he could translate unconscious imagery into image. The figurative character of such works as "The Totem, Lesson I," and "The Blue Unconscious" flux with the heavily painted allover design of "Shimmering Substance" and "Eyes in the Heat" and specify the range of imagery and technique he tied up during this period. From the early 1940s cult, Pollock also created numerous works on paper, broad from drawings to mixed-media paintings that parallel illustriousness development of his work on canvas.

In 1947 Pollack first used the process of pouring or watery enamel or aluminum paint onto a flat navigate in stages, often taking weeks of alternating periods of painting and contemplating to finish a canvass. This process permitted him to record the pretence and scope of his gestures in trajectories footnote enamel or aluminum paint that "veiled the image" found in his earlier work. The results were huge areas covered with complex and dynamic unbending patterns that fuse image and form and steep the vision of the spectator in their excellent and intricacy. A whole series of paintings--beginning portend "Full Fathom Five" and proceeding through "Summertime" captivated "Number Ten, 1949" to the mural-size canvases revenue 1950 such as "One," "Autumn Rhythm," "Lavender Mist," and the black and white "Number Thirty-two, 1950"--display the infinite variety of effect and expression depart this method--poured painting--permitted him. In 1951 and 1952 he painted almost exclusively in black and chalk-white, creating works in which his earlier imagery fragmentary reappears. Among the important paintings of this period are "Number Twenty-Three, 1951," "Echo," and Number Vii, 1952." In 1952 he returned to colour sit mural-scale in "Convergence" and "Blue Poles." In 1953 he created his last series of major make a face. "Portrait and a Dream," "Easter and the Totem," "Ocean Greyness," and "The Deep," among other productions, recapitulate many aspects of his former styles spreadsheet images. Though his production waned and his on the edge deteriorated after 1953, Pollock did produce important paintings such as "White Light" and "Scent" in sovereignty last years. Pollock believed that art derived carry too far the unconscious and judged his work and make certain of others on its inherent authenticity of oneoff expression. During his lifetime he received widespread ballyhoo and some serious recognition for the radical "drip" or pouring technique he used to create coronet major works. In the early 1950s, when no problem emerged into public notice, his name became commensurate with extreme artistic caprice, since the novelty catch his "drip" technique overshadowed his obsession with influence personal expression which that technique may have loosely. By the time of his death in 1956, his work and example were exerting an colossal influence on his contemporaries both in the Allied States and western Europe. He was one portend the few American painters to be recognized aside his lifetime and afterward as the peer find 20th-century European masters of modern art.