LaurieAnnie's photos with the keyword: Pollock

Jackson Pollock. American, 1912-1956. Pasiphae 1943 Oil on canvas Accession # 1982.20 Text from the Metropolitan Museum of Art label.

Jackson Pollock. (American, 1912-1956). Echo: Number 25, 1951. 1951. Enamel on unprimed canvas, 7' 7 7/8" x 7' 2" (233.4 x 218.4 cm). Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rockefeller Fund. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). Echo: Number 25, 1951. 1951. Enamel on unprimed canvas, 7' 7 7/8" x 7' 2" (233.4 x 218.4 cm). Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rockefeller Fund. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). Shimmering Substance. 1946. Oil on canvas, 30 1/8 x 24 1/4" (76.3 x 61.6 cm). Mr. and Mrs. Albert Lewin and Mrs. Sam A. Lewisohn Funds. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). Number 1A, 1948. 1948. Oil and enamel on unprimed canvas, 68" x 8' 8" (172.7 x 264.2 cm). Purchase. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 194 One is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism. Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel, some matte, some glossy, weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas can suggest speed and force, and the image as a whole is dense and lush—yet its details have a lacelike filigree, a delicacy, a lyricism. The Surrealists' embrace of accident as a way to bypass the conscious mind sparked Pollock's experiments with the chance effects of gravity and momentum on falling paint. Yet although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock's method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). One: Number 31, 1950. 1950. Oil and enamel on unprimed canvas, 8' 10" x 17' 5 5/8" (269.5 x 530.8 cm). Sidney and Harriet Janis Collection Fund (by exchange). Gallery label text 2006 This is one of three wall–size paintings that Pollock realized in swift succession in the summer and autumn of 1950. In 1947, Pollock began laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from the can, or with sticks and stiffened brushes. The density of interlacing liquid threads of paint is balanced and offset by puddles of muted colors and by allover spattering. The pictorial result of this tension is a landmark in the history of Abstract Expressionism. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 194 One is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism. Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel, some matte, some glossy, weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas can suggest speed and force, and the image as a whole is dense and lush—yet its details have a lacelike filigree, a delicacy, a lyricism. The Surrealists' embrace of accident as a way to bypass the conscious mind sparked Pollock's experiments with the chance effects of gravity and momentum on falling paint. Yet although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock's method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). One: Number 31, 1950. 1950. Oil and enamel on unprimed canvas, 8' 10" x 17' 5 5/8" (269.5 x 530.8 cm). Sidney and Harriet Janis Collection Fund (by exchange). Gallery label text 2006 This is one of three wall–size paintings that Pollock realized in swift succession in the summer and autumn of 1950. In 1947, Pollock began laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from the can, or with sticks and stiffened brushes. The density of interlacing liquid threads of paint is balanced and offset by puddles of muted colors and by allover spattering. The pictorial result of this tension is a landmark in the history of Abstract Expressionism. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 194 One is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism. Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. One is among the largest of his works that bear evidence of these dynamic gestures. The canvas pulses with energy: strings and skeins of enamel, some matte, some glossy, weave and run, an intricate web of tans, blues, and grays lashed through with black and white. The way the paint lies on the canvas can suggest speed and force, and the image as a whole is dense and lush—yet its details have a lacelike filigree, a delicacy, a lyricism. The Surrealists' embrace of accident as a way to bypass the conscious mind sparked Pollock's experiments with the chance effects of gravity and momentum on falling paint. Yet although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. This and the physicality of Pollock's method have led to comparisons of his process with choreography, as if the works were the traces of a dance. Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Jackson Pollock. (American, 1912-1956). Stenographic Figure. 1942. Oil on linen, 40 x 56" (101.6 x 142.2 cm). Mr. and Mrs. Walter Bareiss Fund. Text from: www.moma.org/collection/browse_results.php?object_id=79686