pollock - Page 2

lucky_13 · 04-06-2003, 08:04 PM

i watched it a year ago and i thought it was pretty good and then the producer of howard's end and whole bunch of movies came to speak to my class and said it sucked and now i'm questioning it. did it suck? now i have to watch it again and analyze. they also didn't want to have him die in the end. gee whiz. did pollock ever do "normal" paintings? you know of objects and people? that i would like to see.

DeadSwan · 04-06-2003, 08:22 PM

http://www.deskpicture.com/DPs/Art/p...ographic_2.jpg http://www.sammlung-frieder-burda.de/bilder_gr/297.jpg http://www.harley.com/abstract-art/i...ey-(small).jpg http://www.abstract-art.com/abstract...going_west.jpg http://www.happyfew.gr/pollock/image...fthesecret.jpg http://www.artline.com/galleries/aar...k/pollock_.jpg
http://artroots.com/art2/jacksonpollock2.jpg
While attending Manual Arts High School in Los Angeles, Pollock was encouraged to pursue his early interest in art. Two of his brothers, Charles and Sanford (known as Sande), were also developing as artists. Charles, the eldest, went to New York to study with the Regionalist painter Thomas Hart Benton at the Art Students League, and he suggested that Jackson should join him. In 1930 Pollock went east and enrolled in Benton's class at the League. It was at about this time that he dropped his first name, Paul, and began using his middle name.

Under Benton's guidance, Pollock analyzed Old Master paintings and learned the rudiments of drawing and composition. He also studied mural painting with Benton and posed for his teacher's 1930-31 murals at the New School for Social Research, where the Mexican muralist José Clemente Orozco was at work on frescoes. Pollock's first-hand experience of contemporary mural painting is thought to have sparked his ambition to paint large scale works of his own, although he would not realize that aim until 12 years later.

During the 1930s, Pollock's work reflected Benton's "American Scene" aesthetic, although enriched by a brooding, almost mystical quality reminiscent of the work of the visionary painter Albert Pinkham Ryder, whom Pollock admired. Orozco's influence also made itself felt, especially after Pollock saw him at work on his dynamic frescoes for Dartmouth College (1932-34).

Other early influences ******* Picasso, Miró, and the Surrealists, as well as another Mexican muralist, David Alfaro Siqueiros, who in 1936 established a short-lived experimental workshop in New York. It was there that Pollock first encountered the use of enamel paint and was encouraged to try unorthodox techniques such as pouring and flinging the liquid material to achieve spontaneous effects.

With the advent of the New Deal's work-relief projects, Pollock and many of his contemporaries were able to work as artists on the federal payroll. Under government aegis, Pollock enrolled in the easel division of the Works Progress Administration's Federal Art Project, which provided him with a source of income for nearly eight years and enabled him to devote himself to artistic development. Some of Pollock's WPA paintings are now lost, but those that survive--together with other canvases, drawings and prints made during this period--illustrate his complex synthesis of source material and the gradual emergence of a deeply personal pictorial language. By the early 1940s, Native American motifs and other pictographic imagery played a central role in his compositions, marking the beginnings of a mature style.

http://naples.cc.sunysb.edu/CAS/pkho...nImageResource

http://naples.cc.sunysb.edu/CAS/pkho...nImageResource

04-06-2003, 08:22 PM	#32
DeadSwan Socialphobic Location: GAZA STRIP MALL Posts: 10,828	"early" painting and stuff http://www.deskpicture.com/DPs/Art/p...ographic_2.jpg http://www.sammlung-frieder-burda.de/bilder_gr/297.jpg http://www.harley.com/abstract-art/i...ey-(small).jpg http://www.abstract-art.com/abstract...going_west.jpg http://www.happyfew.gr/pollock/image...fthesecret.jpg http://www.artline.com/galleries/aar...k/pollock_.jpg http://artroots.com/art2/jacksonpollock2.jpg While attending Manual Arts High School in Los Angeles, Pollock was encouraged to pursue his early interest in art. Two of his brothers, Charles and Sanford (known as Sande), were also developing as artists. Charles, the eldest, went to New York to study with the Regionalist painter Thomas Hart Benton at the Art Students League, and he suggested that Jackson should join him. In 1930 Pollock went east and enrolled in Benton's class at the League. It was at about this time that he dropped his first name, Paul, and began using his middle name. Under Benton's guidance, Pollock analyzed Old Master paintings and learned the rudiments of drawing and composition. He also studied mural painting with Benton and posed for his teacher's 1930-31 murals at the New School for Social Research, where the Mexican muralist José Clemente Orozco was at work on frescoes. Pollock's first-hand experience of contemporary mural painting is thought to have sparked his ambition to paint large scale works of his own, although he would not realize that aim until 12 years later. During the 1930s, Pollock's work reflected Benton's "American Scene" aesthetic, although enriched by a brooding, almost mystical quality reminiscent of the work of the visionary painter Albert Pinkham Ryder, whom Pollock admired. Orozco's influence also made itself felt, especially after Pollock saw him at work on his dynamic frescoes for Dartmouth College (1932-34). Other early influences ******* Picasso, Miró, and the Surrealists, as well as another Mexican muralist, David Alfaro Siqueiros, who in 1936 established a short-lived experimental workshop in New York. It was there that Pollock first encountered the use of enamel paint and was encouraged to try unorthodox techniques such as pouring and flinging the liquid material to achieve spontaneous effects. With the advent of the New Deal's work-relief projects, Pollock and many of his contemporaries were able to work as artists on the federal payroll. Under government aegis, Pollock enrolled in the easel division of the Works Progress Administration's Federal Art Project, which provided him with a source of income for nearly eight years and enabled him to devote himself to artistic development. Some of Pollock's WPA paintings are now lost, but those that survive--together with other canvases, drawings and prints made during this period--illustrate his complex synthesis of source material and the gradual emergence of a deeply personal pictorial language. By the early 1940s, Native American motifs and other pictographic imagery played a central role in his compositions, marking the beginnings of a mature style. http://naples.cc.sunysb.edu/CAS/pkho...nImageResource http://naples.cc.sunysb.edu/CAS/pkho...nImageResource

04-06-2003, 08:04 PM	#31
lucky_13 Apocalyptic Poster Location: for joke! Posts: 2,235	i watched it a year ago and i thought it was pretty good and then the producer of howard's end and whole bunch of movies came to speak to my class and said it sucked and now i'm questioning it. did it suck? now i have to watch it again and analyze. they also didn't want to have him die in the end. gee whiz. did pollock ever do "normal" paintings? you know of objects and people? that i would like to see.