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86-471: A group show the next year included works by de Kooning , Joseph Stella , Josef Albers , Mark Rothko , Paul Klee and Georges Braque . In 1948, Charles Egan Gallery held a solo exhibition of de Kooning's black and white paintings. Irving Sandler wrote that because of this exhibition, "de Kooning was established as a major Abstract Expressionist ... soon to be the most influential artist of his generation." In 1949 Joseph Cornell had his first show at

172-565: A 1952 article in ARTnews , Harold Rosenberg coined the term " action painting " and wrote that "what was to go on the canvas was not a picture but an event. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral." Many people assumed that he had modeled his "action painter" paradigm on Pollock. The Congress for Cultural Freedom , an organization to promote American culture and values, backed by

258-697: A Bench (1972/1976). Some of De Kooning's paintings have been sold in the 21st century for record prices. In November 2006, the American business magnate David Geffen sold his oil painting Woman III to hedge fund manager Steven A. Cohen for $ 137.5 million, just below the record at the time of $ 140 million, which involved the same people in the same month for Jackson Pollock 's No. 5, 1948 . A month earlier Cohen had already paid Geffen $ 63.5 million for Police Gazette by De Kooning. In September 2015, Geffen sold De Kooning's oil painting Interchange to hedge-fund billionaire Ken Griffin for ca. $ 300 million,

344-512: A Jackson Pollock without a Lee Pollock", whereas fellow painter Fritz Bultman referred to Pollock as Krasner's "creation, her Frankenstein", both men recognizing the immense influence Krasner had on Pollock's career. Jackson Pollock's influence on his wife's artwork is often discussed by art historians. Many people thought that Krasner began to reproduce and reinterpret her husband's chaotic paint splatters in her own work. There are several accounts where Krasner intended to use her own intuition as

430-493: A Pollock, "It filled out space going on and on because it did not have a start or end to it." Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in form and elimination of historical content. He considered Pollock's work to be the best painting of its day and the culmination of the Western tradition via Cubism and Cézanne to Manet . In

516-443: A frenetic dancing style. This extreme form of abstraction divided critics: some praised the immediacy of the creation, while others derided the random effects. A reclusive and volatile personality, Pollock struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner , who became an important influence on his career and on his legacy. Pollock died at age 44 in an alcohol-related single-car collision when he

602-532: A gallery contract with Peggy Guggenheim in July 1943. He received the commission to create the 8-by-20-foot (2.4 by 6.1 m) Mural (1943) for the entry to her new townhouse. At the suggestion of her friend and advisor Marcel Duchamp , Pollock painted the work on canvas, rather than the wall, so that it would be portable. After seeing the big mural, the art critic Clement Greenberg wrote: "I took one look at it and I thought, 'Now that's great art,' and I knew Jackson

688-516: A large boulder marking his grave and a smaller one marking hers. The work of Thomas Hart Benton , Pablo Picasso and Joan Miró influenced Pollock. Pollock started using synthetic resin-based paints called alkyd enamels, which at that time was a novel medium. Pollock described this use of household paints, instead of artist's paints, as "a natural growth out of a need". He used hardened brushes, sticks, and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint

774-873: A number of solo exhibitions from 1948 to 1966, many in New York but also nationally and internationally. Specifically, he had 14 separate exhibitions, with two exhibitions per annum in the years 1953, 1964, and 1965. He was featured at the Egan Gallery , the Sidney Janis Gallery , the Museum of Fine Arts, Boston , the Arts Club of Chicago , the Martha Jackson Gallery , the Workshop Center, the Paul Kantor Gallery,

860-570: A part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting. This is akin to the methods of the Indian sand painters of the West." Other influences on his drip technique include the Mexican muralists and Surrealist automatism. Pollock denied reliance on "the accident"; he usually had an idea of how he wanted a particular work to appear. His technique combined

946-427: A picture for what it is—pure painting." Pollock's work has been the subject of important critical debates. Critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random energy, and therefore meaningless". Reynold's News , in a 1959 headline, said, "This is not art—it's a joke in bad taste." French abstract painter Jean Hélion , on the other hand, remarked on first seeing

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1032-588: A result of his affair with Joan Ward. He also had a romance with Ruth Kligman after her affair with Jackson Pollock ended with his death in a car crash in 1956. Elaine and Willem both struggled with alcoholism, which eventually led to their separation in 1957. While separated, Elaine remained in New York, struggling with poverty, and Willem moved to Long Island and dealt with depression. Despite bouts with alcoholism, they both continued painting. Although separated for nearly twenty years, they never divorced, and ultimately reunited in 1976. De Kooning's paintings of

1118-524: A series of black-and-white paintings, which he would continue into 1949. During this period he had his first one-man show at the Charles Egan Gallery in 1948 consisting largely of black-and-white works, although a few pieces have passages of bright color. De Kooning's black paintings are important to the history of abstract expressionism owing to their densely impacted forms, their mixed media, and their technique. De Kooning painted women regularly in

1204-481: A single-car crash in his Oldsmobile convertible while driving under the influence of alcohol. At the time, Krasner was visiting friends in Europe; she abruptly returned on hearing the news from a friend. One of the passengers, Edith Metzger, was also killed in the accident, which occurred less than a mile from Pollock's home. The other passenger, Ruth Kligman, survived. In December 1956, four months after his death, Pollock

1290-408: A studio near by, and lived in the house to the end of his life. It was revealed that, toward the end of his life, De Kooning had begun to lose his memory in the late 1980s and had been suffering from Alzheimer's disease for some time. This revelation has initiated considerable debate among scholars and critics about how responsible De Kooning was for the creation of his late work. Succumbing to

1376-411: A studio. In that space, he perfected his big "drip" technique of working with paint, with which he would become permanently identified. When the couple found themselves free from work they enjoyed spending their time together cooking and baking, working on the house and garden, and entertaining friends. Krasner's influence on her husband's art was something critics began to reassess by the latter half of

1462-633: A way to move towards Pollock's I am nature technique in order to reproduce nature in her art. In 1955, Pollock painted Scent and Search , his last two paintings. He did not paint at all in 1956, but was making sculptures at Tony Smith 's home: constructions of wire, gauze, and plaster. Shaped by sand-casting, they have heavily textured surfaces similar to what Pollock often created in his paintings. Pollock and Krasner's relationship began to crumble by 1956, owing to Pollock's continuing alcoholism and infidelity involving another artist, Ruth Kligman . On August 11, 1956, at 10:15 p.m., Pollock died in

1548-413: A young photographer, wanted to take pictures—both stills and moving—of Pollock at work. Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished. Namuth said that when he entered the studio: A dripping wet canvas covered the entire floor ... There was complete silence ... Pollock looked at

1634-570: Is a stub . You can help Misplaced Pages by expanding it . This article related to an art display, art museum or gallery in the United States is a stub . You can help Misplaced Pages by expanding it . Willem de Kooning Willem de Kooning ( / d ə ˈ k uː n ɪ ŋ / də KOO -ning , Dutch: [ˈʋɪləm də ˈkoːnɪŋ] ; April 24, 1904 – March 19, 1997) was a Dutch-American abstract expressionist artist. Born in Rotterdam , in

1720-508: Is considered as a significant work of art for the museum through its historical context about the post-World War II history and American feminist movement. Additionally, the medium (oil, enamel, and charcoal on canvas) of this painting makes it different from others of De Kooning's time. The painter is noted for his paintings: Woman III (1953), Woman VI (1953), Interchange (1955), and Police Gazette (1955). Some notable sculptures are Clamdigger (1972/1976) and Seated Woman on

1806-478: Is it." Pollock's finest paintings ... reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. There is not inside or outside to Pollock's line or the space through which it moves. ... Pollock has managed to free line not only from its function of representing objects in

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1892-593: Is now insured for US$ 140 million. In 2011, the Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held by the University of Iowa, to fund scholarships, but his bill created such controversy that it was quickly withdrawn. One of Jackson Pollock's works is featured heavily in the film Ex Machina . A pivotal scene in the film contains a monologue where antagonist Nathan Bateman describes

1978-657: Is shown in the documentary and states that the painting is on a primed canvas, which Pollock never used. Untitled 1950 , which the New York-based Knoedler Gallery had sold in 2007 for $ 17 million to Pierre Lagrange, a London hedge-fund multimillionaire, was subject to an authenticity suit before the United States District Court for the Southern District of New York . Done in the painter's classic drip-and-splash style and signed "J. Pollock",

2064-450: Is thought to be one of the origins of the term action painting . With this technique, Pollock was able to achieve his own signature style palimpsest paintings, with paints flowing from his chosen tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension by being able to view and apply paint to his canvases from all directions. In 1936, Pollock participated in an experimental workshop run by

2150-591: The Academie van Beeldende Kunsten en Technische Wetenschappen (Academy of Fine Arts and Applied Sciences), now the Willem de Kooning Academie . In 1926, De Kooning traveled to the United States as a stowaway on the Shelley , a British freighter bound for Argentina, and on August 15 landed at Newport News, Virginia . He intended to become an illustrator of pulp magazines ; he recalled in 1969 that "those American illustrators were

2236-595: The Academy Award for Best Supporting Actress for her portrayal of Lee Krasner. The movie was the project of Harris, who was nominated for the Academy Award for Best Actor . Harris himself painted the works seen in the film. The Pollock-Krasner Foundation did not authorize or collaborate with any production. In September 2009, the art historian Henry Adams claimed in Smithsonian magazine that Pollock had written his name in his famous painting Mural (1943). The painting

2322-629: The Art Students League . Benton's rural American subject matter had little influence on Pollock's work, but his rhythmic use of paint and his fierce independence were more lasting. In the early 1930s, Pollock spent a summer touring the Western United States together with Glen Rounds , a fellow art student, and Benton, their teacher. Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop in New York City by

2408-640: The Central Intelligence Agency (CIA), sponsored exhibitions of Pollock's work. Some left-wing scholars, including Eva Cockcroft , have argued that the United States government and wealthy elite embraced Pollock and abstract expressionism to place the United States in the forefront of global art and devalue socialist realism . Cockcroft wrote that Pollock became a "weapon of the Cold War ". Pollock described his art as "motion made visible memories, arrested in space". Pollock's staining into raw canvas

2494-627: The Fuller Building at 41 East 57th Street in New York City during the 1950s and closed in 1972. 40°45′43″N 73°58′17″W  /  40.76192°N 73.97146°W  / 40.76192; -73.97146 This business-related article is a stub . You can help Misplaced Pages by expanding it . This article about a building or structure in Manhattan is a stub . You can help Misplaced Pages by expanding it . This New York museum-related article

2580-463: The Sidney Janis Gallery , a more commercial gallery; the demand for his work from collectors was great. In response to this pressure, along with personal frustration, his alcoholism deepened. Pollock and Lee Krasner met while they both exhibited at the McMillen Gallery in 1942. Krasner was unfamiliar yet intrigued with Pollock's work and went to his apartment, unannounced, to meet him following

2666-742: The Williamsburg Federal Housing Project in Brooklyn . None of them were executed, but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art , his first group show. Starting in 1937, when De Kooning had to leave the Federal Art Project because he did not have American citizenship, he began to work full-time as an artist, earning income from commissions and by giving lessons. That year De Kooning

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2752-403: The highest price paid for a painting at the time. It held the record until November 15, 2017, when the da Vinci Salvator Mundi sold for $ 450 million at Christie's in New York. In November 2016, Untitled XXV sold for $ 66.3 million at Christie's in New York. This was a record price for a De Kooning piece sold at public auction. According to Patricia Failing: The artist was featured in

2838-708: The modernist artists active in Manhattan. Among them were the American Stuart Davis , the Armenian Arshile Gorky and the Russian John Graham , whom De Kooning collectively called the "Three Musketeers". Gorky, whom De Kooning first met at the home of Misha Reznikoff , became a close friend and, for at least ten years, an important influence. Balcomb Greene said that "de Kooning virtually worshipped Gorky"; according to Aristodimos Kaldis , "Gorky

2924-451: The 1930s and early 1940s are abstract still-lifes characterised by geometric or biomorphic shapes and strong colours. They show the influence of his friends Davis, Gorky and Graham, but also of Arp , Joan Miró , Mondrian and Pablo Picasso . In the same years, De Kooning also painted a series of solitary male figures, either standing or seated, against undefined backgrounds; many of these are unfinished. By 1946, De Kooning had begun

3010-503: The 1950s art world into a new movement known as American abstract expressionism . "From 1940 to the present, Woman has manifested herself in De Kooning's paintings and drawings as at once the focus of desire, frustration, inner conflict, pleasure, … and as posing problems of conception and handling as demanding as those of an engineer." The female figure is an important symbol for De Kooning's art career and his own life. The Woman painting

3096-417: The 1960s due to the rise of feminism at the time. Krasner's extensive knowledge and training in modern art and techniques helped her bring Pollock up to date with what contemporary art should be. Krasner is often considered to have tutored her husband in the tenets of modernistic painting. Pollock was then able to change his style to fit a more organized and cosmopolitan genre of modern art, and Krasner became

3182-545: The 1978 catalogue. In the past, however, the Pollock-Krasner Foundation has declined to be involved in authentication cases. In 2006, a documentary, Who the *$ &% Is Jackson Pollock? , was made concerning Teri Horton, a truck driver who bought an abstract painting for five dollars at a thrift store in California in 1992. This work may be a lost Pollock painting, but its authenticity is debated. Thomas Hoving

3268-790: The Charles Egan Gallery. In 1950, Robert De Niro, Sr. had his first show at the Egan Gallery, where he continued to show until 1955. In 1952 George McNeil had his first show at the Egan Gallery, and subsequent solo shows in 1953 and 1954, and where he continued to show until the mid-1950s. In 1954 Knox Martin had his first one-man show at the Charles Egan Gallery. Among the artists Mr. Egan showed were Louise Bourgeois , Harry Bowden , Robert De Niro, Sr. , George McNeil , Elias Goldberg , Peter Golfinopoulos , Philip Guston , Raoul Hague , Julius Hatofsky , Franz Kline , Noguchi , Reuben Nakian , Robert Rauschenberg , Aaron Siskind , Jack Tworkov and Esteban Vicente . The gallery moved to

3354-668: The Hames Goodman Gallery, the Allan Stone Gallery, and the Smith College Museum of Art. Most of the exhibitions lasted for three weeks to one month. Most recent exhibition, De Kooning: Five Decades , took place in the Mnuchin Gallery, New York City, from April 19 till June 15, 2019. Jackson Pollock Paul Jackson Pollock ( / ˈ p ɒ l ə k / ; January 28, 1912 – August 11, 1956)

3440-427: The Mexican muralist David Alfaro Siqueiros . In the summer, he went to Dartmouth College to study José Clemente Orozco 's 3,200 square foot mural, “ The Epic of American Civilization .” He later used paint pouring as one of several techniques on canvases of the early 1940s, such as Male and Female and Composition with Pouring I . After his move to Springs, New York , he began painting with his canvases laid out on

3526-572: The Mexican muralist David Alfaro Siqueiros. It was there that he first used liquid enamel paints, which he continued to incorporate in his paintings in the early to mid 1940s, long before he encountered the work of the Ukrainian American artist Janet Sobel (1894–1968) (born Jennie Lechovsky). Peggy Guggenheim included Sobel's work in her The Art of This Century Gallery in 1945. Jackson Pollock and art critic Clement Greenberg saw Sobel's work there in 1946 and later Greenberg noted that Sobel

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3612-844: The Netherlands, he moved to the United States in 1926, becoming a US citizen in 1962. In 1943, he married painter Elaine Fried . In the years after World War II, De Kooning painted in a style that came to be referred to as abstract expressionism or " action painting ", and was part of a group of artists that came to be known as the New York School . Other painters in this group included Jackson Pollock , Elaine de Kooning , Lee Krasner , Franz Kline , Arshile Gorky , Mark Rothko , Hans Hofmann , John Ferren , Nell Blaine , Adolph Gottlieb , Anne Ryan , Robert Motherwell , Philip Guston , Clyfford Still , and Richard Pousette-Dart . De Kooning's retrospective held at MoMA in 2011–2012 made him one of

3698-460: The best-known artists of the 20th century. Willem de Kooning was born in Rotterdam , the Netherlands, on April 24, 1904. His parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and De Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists . Until 1924 he attended evening classes in Rotterdam at

3784-538: The central challenge of artificial intelligence as engineering a cognitive state that is "not deliberate, not random, but somewhere in between," which he likens to the cognitive state Pollock achieves while painting. In 1973, Number 11, 1952 (also known as Blue Poles ) was purchased by the Australian Gough Whitlam government for the National Gallery of Australia for US$ 2 million (A$ 1.3 million at

3870-468: The early and late 1940s, but it was not until 1950 that he began to explore the female subject exclusively. His well-known Woman series, begun in 1950 and culminating in Woman VI , owes much to Picasso, not least in the aggressive, penetrative breaking apart of the figure, and the spaces around it. Picasso's late works show signs that he, in turn, saw images of works by Pollock and De Kooning. De Kooning led

3956-409: The era including Cubism, Surrealism and Regionalism. Their emotive gestures and abstract pieces were a result of their attempt to abandon the other movements. This movement was later called "Abstract Expressionism" sometimes known as "Action Painting" and the "New York School". Between 1948 and 1953, De Kooning became more well known for his artistic techniques but he tried not to repeat himself. In

4042-463: The first exhibition of Pollock's works from 1948 to 1951 in his Studio Paul Facchetti in Paris and in Europe. At the peak of his fame, Pollock abruptly abandoned the drip style. Pollock's drip paintings were influenced by the artist Janet Sobel ; the art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's work "had made an impression on him." Pollock's work after 1951

4128-534: The floor because “the Oriental’s did it.” Eventually, Pollock became famous from his "drip" paintings, and on August 8, 1949, in a four-page spread in Life magazine, he was asked, "Is he the greatest living painter in the United States?" Thanks to the mediation of Alfonso Ossorio , a close friend of Pollock, and the art historian Michel Tapié , the young gallery owner Paul Facchetti , from March 7, 1952, managed to realize

4214-496: The force of his whole body to paint, which was expressed on the large canvases. In 1956, Time magazine dubbed Pollock "Jack the Dripper" due to his painting style. 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

4300-485: 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

4386-458: The gallery exhibition. In October 1945, Pollock and Krasner were married in a church with two witnesses present for the event. In November, they moved out of the city to the Springs area of East Hampton on the south shore of Long Island . With the help of a down-payment loan from Peggy Guggenheim, they bought a wood-frame house and barn at 830 Springs Fireplace Road. Pollock converted the barn into

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4472-421: 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. Pollock observed Native American sandpainting demonstrations in the 1940s. Referring to his style of painting on the floor, Pollock stated, "I feel nearer, more

4558-546: The indigenous people of British Columbia, in which the concept of space in totemist art is considered from an artist's point of view, influenced Pollock as well; Pollock owned a signed and dedicated copy of the Amerindian Number of Paalen's magazine (DYN 4–5, 1943). He had also seen Paalen's surrealist paintings in an exhibition in 1940. Another strong influence must have been Paalen's surrealist fumage technique, which appealed to painters looking for new ways to depict what

4644-491: The late 1950s, De Kooning's work shifted away from the figurative work of the women (though he would return to that subject matter on occasion) and began to display an interest in more abstract, less representational imagery. He became a US citizen on March 13, 1962, and in the following year moved from Broadway to a small house in East Hampton , a house that Elaine's brother Peter Fried had sold to him two years before. He built

4730-545: The most inspiring artists to me!" He stayed at the Dutch Seamen's Home in Hoboken, New Jersey , and found work as a house painter. In 1927, he moved to Manhattan , where he had a studio on West Forty-fourth Street. He supported himself with jobs in carpentry, house painting and commercial art. De Kooning began painting in his free time, and in 1928 he joined the art colony at Woodstock, New York . He also began to meet some of

4816-441: The movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see. Austrian artist Wolfgang Paalen 's article on totem art of

4902-410: The one judge he could trust. At the beginning of the two artists' marriage, Pollock would trust his peers' opinions on what did or did not work in his pieces. Krasner was also responsible for introducing him to many collectors, critics, and artists, including Herbert Matter , who would help further his career as an emerging artist. Art dealer John Bernard Myers once said "there would never have been

4988-613: The painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter ... My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said "This

5074-443: The process of creation; they were influenced by his approach to the process, rather than the look of his work. In 2004, One: Number 31, 1950 was ranked the eighth-most influential piece of modern art in a poll of 500 artists, curators, critics, and dealers. In the early 1990s, three groups of movie makers were developing Pollock biographical projects, each based on a different source. The project that at first seemed most advanced

5160-463: The progression of his disease, De Kooning painted his final works in 1991. He died in 1997 at the age of 92 and was cremated. Elaine had admired Willem's artwork before meeting him; in 1938 her teacher introduced her to De Kooning at a Manhattan cafeteria when she was 20 and he 34. After meeting, he began to instruct her in drawing and painting. They painted in Willem's loft at 143 West 21st Street, and he

5246-684: The studio floor and he developed what was later called his " drip " technique. From 1938 to 1942 Pollock worked for the WPA Federal Art Project . During this time Pollock was trying to deal with his established alcoholism; from 1938 through 1941 he underwent Jungian psychotherapy with Dr. Joseph L. Henderson and later with Dr. Violet Staub de Laszlo in 1941–42. Henderson engaged him through his art, encouraging Pollock to make drawings. Jungian concepts and archetypes were expressed in his paintings. Some psychiatrists have hypothesized that Pollock might have had bipolar disorder . Pollock signed

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5332-543: The time of payment). This was the highest price ever paid for a modern painting and the painting is now one of the most popular exhibits. The artwork contains only a fleeting reference to the real world and Blue Poles has become the flagship of autonomous art. Blue Poles was a centerpiece of the Museum of Modern Art 's 1998 retrospective in New York, the first time the painting had been shown in America since its purchase. In November 2006, Pollock's No. 5, 1948 became

5418-553: The time that Pollock spent working and studying in the Experimental Workshop with David Alfaro Siqueiros in 1936 is rarely investigated or acknowledged. According to Robert Storr, “there is no other experience in his professional life that is equal to the decade that he spent learning from and observing the modern Mexican muralists…,” especially when comparing this period of informal training to his formal education with Thomas Hart Benton, which, although critical to his beginnings,

5504-752: The world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of US$ 140 million. Another artist record was established in 2004, when No. 12 (1949), a medium-sized drip painting that had been shown in the United States Pavilion at the 1950 Venice Biennale , fetched US$ 11.7 million at Christie's , New York. In 2012, Number 28, 1951 , one of the artist's combinations of drip and brushwork in shades of silvery gray with red, yellow, and shots of blue and white, also sold at Christie's, New York, for US$ 20.5 million—US$ 23 million with fees—within its estimated range of US$ 20 million to US$ 30 million. In 2013, Pollock's Number 19 (1948)

5590-617: The world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas. Continuing to evade the viewer's search for figurative elements in his paintings, Pollock abandoned titles and started numbering his works. He said about this, "[L]ook passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for." His wife said, "He used to give his pictures conventional titles ... but now he simply numbers them. Numbers are neutral. They make people look at

5676-513: The youngest of five brothers. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa , and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa . His father had been born with the surname McCoy, but took the surname of his adoptive parents. Stella and LeRoy Pollock were Presbyterian ; they were of Irish and Scots-Irish descent, respectively. LeRoy Pollock

5762-419: Was "a direct influence on Jackson Pollock's drip painting technique". In his essay "American-Type Painting", Greenberg noted those works were the first of all-over painting he had seen, and said, "Pollock admitted that these pictures had made an impression on him". While painting this way, Pollock moved away from figurative representation, and challenged the Western tradition of using easel and brush. He used

5848-584: Was a farmer and later a land surveyor for the government, moving for different jobs. Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager. In November 1912, Stella took her sons to San Diego; Jackson was just 10 months old and would never return to Cody. He subsequently grew up in Arizona and Chico, California . While living in the Vermont Square neighborhood of Los Angeles, he enrolled at Manual Arts High School , from which he

5934-427: Was a joint venture between Barbra Streisand 's Barwood Films and Robert De Niro 's TriBeCa Productions (De Niro's parents were friends of Krasner and Pollock). The script, by Christopher Cleveland, was to be based on Jeffrey Potter 's 1985 oral biography, To a Violent Grave , a collection of reminiscences by Pollock's friends. Streisand was to play the role of Lee Krasner, and De Niro was to portray Pollock. A second

6020-656: Was adapted by the Color Field painters Helen Frankenthaler and Morris Louis . Frank Stella made "all-over composition" a hallmark of his works of the 1960s. Joseph Glasco was introduced to Pollock by Alfonso Ossorio in 1949. Throughout his life, Glasco continued to reflect on Pollock’s artistic influence, particularly in the early to mid-1970s when his style changed to all-over collage paintings with their emphasis on rhythm and process. The Happenings artist Allan Kaprow , sculptors Richard Serra and Eva Hesse , and many contemporary artists have retained Pollock's emphasis on

6106-418: Was an American painter. A major figure in the abstract expressionist movement, Pollock was widely noticed for his " drip technique " of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was called all-over painting and action painting , since he covered the entire canvas and used the force of his whole body to paint, often in

6192-964: Was assigned to a portion of the mural Medicine for the Hall of Pharmacy at the 1939 World's Fair in New York , which drew the attention of critics, the images themselves so completely new and distinct from the era of American realism . De Kooning met his wife, Elaine Fried , at the American Artists School in New York. She was 14 years his junior. Thus was to begin a lifelong partnership affected by alcoholism, lack of money, love affairs, quarrels and separations. They were married on December 9, 1943. De Kooning worked on his first series of portrait paintings : standing or sedentary men like Two Men Standing , Man , and Seated Figure (Classic Male) , even combining with self-portraits as with Portrait with Imaginary Brother (1938–39). At this time, De Kooning's work borrowed strongly from Gorky's surrealist imagery and

6278-550: Was called the "unseen" or the "possible". The technique was once demonstrated in Matta's workshop, about which Steven Naifeh reports, "Once, when Matta was demonstrating the Surrealist technique [Paalen's] Fumage, Jackson [Pollock] turned to (Peter) Busa and said in a stage whisper: 'I can do that without the smoke. ' " Pollock's painter friend Fritz Bultman even stated, "It was Wolfgang Paalen who started it all." In 1950, Hans Namuth ,

6364-577: Was darker in color, including a collection painted in black on unprimed canvases . These paintings have been referred to as his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold one to a friend at half the price. These works show Pollock attempting to find a balance between abstraction and depictions of the figure . He later returned to using color and continued with figurative elements. During this period, Pollock had moved to

6450-612: Was de Kooning's master". De Kooning's drawing Self-portrait with Imaginary Brother , from about 1938, may show him with Gorky; the pose of the figures is that of a photograph of Gorky with Peter Busa in about 1936. De Kooning joined the Artists Union in 1934, and in 1935 was employed in the Federal Art Project of the Works Progress Administration , for which he designed a number of murals including some for

6536-644: Was driving. In December 1956, four months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and the Tate Gallery in London. Paul Jackson Pollock was born in Cody, Wyoming , in January 28, 1912,

6622-566: Was expelled. He had already been expelled in 1928 from another high school. During his early life, Pollock explored Native American culture while on surveying trips with his father. He was also heavily influenced by Mexican muralists , particularly José Clemente Orozco , whose fresco Prometheus he would later call "the greatest painting in North America". In 1930, following his older brother Charles Pollock , he moved to New York City, where they both studied under Thomas Hart Benton at

6708-633: Was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London. For the rest of her life, his widow Lee Krasner managed his estate and ensured that Pollock's reputation remained strong despite changing art world trends. The couple are buried in Green River Cemetery in Springs with

6794-565: Was influenced by Picasso . This changed only when De Kooning met the younger painter Franz Kline , who was also working with the figurative style of American realism and had been drawn to monochrome. Kline, who died young, was one of De Kooning's closest artist friends. Kline's influence is evident in De Kooning's calligraphic black images of this period. During the late 1940s and early '50s, De Kooning joined other fellow contemporary artists including Jackson Pollock and Franz Kline, in their struggle to break free from common artistic movements of

6880-469: Was known for his harsh criticism of her work, "sternly requiring that she draw and redraw a figure or still life and insisting on fine, accurate, clear linear definition supported by precisely modulated shading." He even destroyed many of her drawings, but this "impelled Elaine to strive for both precision and grace in her work". When they married in 1943, she moved into his loft and they continued sharing studio spaces. Elaine and Willem de Kooning had what

6966-474: Was later called an open marriage ; they both were casual about sex and about each other's affairs. Elaine had affairs with men who helped further Willem's career, such as Harold Rosenberg , who was a renowned art critic, Thomas B. Hess, who was a writer about art and managing editor for ARTnews , and Charles Egan, owner of the Charles Egan Gallery . Willem had a daughter, Lisa de Kooning, in 1956, as

7052-539: Was reportedly discovered in Bulgaria after international police agencies were able to track down a group of international art smugglers. The painting is reportedly worth up to 50 million euros. In 2024, Kasmin announced exclusive global representation of Jackson Pollock. Kasmin has been representing Lee Krasner since 2016. The Pollock-Krasner Authentication Board was created by the Pollock-Krasner Foundation in 1990 to evaluate newly found works for an upcoming supplement to

7138-609: Was short lived. Additionally, when specifically asked about how the "drip" came to be, Pollock disavowed his association with Siquieros on multiple occassions and made contradictory statements. For example, in 1947, Pollock suggests that he painted his canvases on the floor because he witnessed the Navajo sand artist at the Natural History Museum in New York do it in 1941 (five years after he witnessed Siqueiros do it in 1936), and soon after, he suggested that he painted his canvases on

7224-443: Was sold by Christie's for a reported US$ 58,363,750 during an auction that ultimately reached US$ 495 million total sales in one night, which Christie's reports as a record to date as the most expensive auction of contemporary art. In February 2016, Bloomberg News reported that Kenneth C. Griffin had purchased Jackson Pollock's 1948 painting Number 17A for US$ 200 million, from David Geffen . In 2023, an unknown Pollock painting

7310-464: Was the greatest painter this country had produced." The catalog introducing his first exhibition described Pollock's talent as "volcanic. It has fire. It is unpredictable. It is undisciplined. It spills out of itself in a mineral prodigality, not yet crystallized." Pollock's most famous paintings were made during the "drip period" between 1947 and 1950. However, when investigating the impact that other artists have had on Pollock and his "drip paintings,"

7396-473: Was to be based on Love Affair (1974), a memoir by Ruth Kligman , who was Pollock's lover in the six months before his death. This was to be directed by Harold Becker , with Al Pacino playing Pollock. In 2000, the biographical film Pollock , based on the Pulitzer Prize -winning biography, Jackson Pollock: An American Saga , directed by and starring Ed Harris , was released. Marcia Gay Harden won

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