he had a volatile personality, and struggled with alcoholism for most of his life
Pollock signed a gallery contract with Peggy Guggenheim in July 1943. He received the commission to create Mural (1943), which measures roughly 8 feet tall by 20 feet long,[14] for the entry to her new townhouse.
-
- 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.
-
- 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, My Painting 1956
- some of jacksons work include:
- (wide walls)
- (Number 8)
- Franz Kine:
- ranz Kline was born and raised in Wilkes-Barre, Pennsylvania, a small coal-mining community that offered few opportunities for artistic development. His childhood was marred by a complicated relationship with his parents. His father, a saloon keeper, committed suicide in 1917, when Kline was only seven years old. His mother later remarried and sent her son to an institution for fatherless boys, which the artist referred to as "the orphanage."
- American Abstract Expressionist Franz Kline is best known for large black and white paintings bearing abstract motifs set down with strident confidence. By the end of his life he had achieved immense international recognition, and his unusual approach to gestural abstraction was beginning to influence the ideas of many Minimalists.The powerful forms of his motifs, and their impression of velocity, were intended to translate into an experience of structure and presence which the viewer could almost palpably feel.
- 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.
No comments:
Post a Comment