JACKSON POLLOCK

Discounted art has the perfect gift for that special someone. We have the best prices and our art is always on sale. Our custom picture framing and art gallery is perfect for special holiday's such as birthday, Christmas, Mothers Day, Fathers Day, Valentines Day, Anniversay, engagement, wedding gift, house warming and more. Our art gallery features such artists as Pablo Picasso, Picaso, Vincent Van Gogh, vangogh, Andy Warhol, Claude Monet, Ansel Adams, Kim Anderson, Kandinsky, Leonardo Da Vinci, Edvard Munch, Piet Mondrian, Gustav Klimtl, Henri Matisse, Joan Miro, Salvador Dali, M.C. Escher, Rene Magritte, Jackson Pollock, Paul Klee, Roy Lichtenstein, Rembrandt, Cezanne, Seurat, Degas, Manet, and Claude Manet.

The Jackson Pollock Exhibition at MoMA Let me say at the start that the Jackson Pollock exhibit was a spectacular exhibition. In my experience it has only been equaled at MoMA by William Rubin's retrospective of Pablo Picasso in 1980. The Jackson Pollock exhibition, and the ancillary shows elsewhere in the museum, provide access to nearly 200 representative works by Pollock in all media. For most ordinary art lovers in this country, Pollock's work has been sparsely available. There are only about a dozen visible examples in New York at any given time. Most of these, it must be said, are at MoMA, where William Lieberman, the curator of the first Pollock retrospective there in 1967, and William Rubin, a vociferous enthusiast for his work, collected Pollock in depth. That number just about doubles when considering the visible Pollock holdings of the other museums between Boston and Washington. While these museums' holdings of other paintings, drawings and prints greatly expand these numbers, they are seldom on public view. It would also take an intrepid Pollock lover of heroic stamina to ferret out the rest in our nation's other museums -- say in Buffalo, Utica, Iowa City, Omaha, St Louis, Seattle, etc. (Indeed, it is easier to see Vermeer; nearly a third of his oeuvre is visible on the east coast of this country!) Several friends, long aware of my interest in Pollock, have told me that for the first time, after viewing the current MoMA exhibit, they had come to understand just what Pollock had achieved. MoMA's Pollock exhibition opened late in October 1998. I followed this important event in some detail, primarily because I have been involved with Pollock as a scholar since my dissertation at The Johns Hopkins University in 1965. Two years later, I wrote the text for the catalogue of MoMA's first Pollock retrospective--whose curator was William S. Lieberman (now head of 20th Century Art at the Metropolitan Museum). In 1978, I co-edited the catalogue raisonne of Pollock's work with the art dealer, Eugene Victor Thaw, and in 1995, edited a supplement to that catalogue for the Pollock-Krasner Foundation. I have also been a member of the several committees that decided on the authenticity of works attributed to Pollock since about 1973. So this exhibition and its scholarly, curatorial, critical and cultural ramifications shall be watched here with special interest. Review No. 9 was posted on November 1, 1998. Review No. 9A (excerpt) -- Pollock in Utopia: A Tour of the Exhibition Introduction Blue is the color of this exhibition, its photo logo being a shot of Pollock painting, taken from below by Hans Namuth through a sheet of plate glass in the fall of 1950. The artist is seen against the sky, pouring elegant black lines. This image is on the cover of the exhibition's catalogue, and the CD of Pollock's top seventeen jazz classics, that can be seen in serried rows in the shop just outside the entrance as you ascend the escalator. When you open the catalogue, its endpapers continue Pollock's pouring process with two more stills from the film -- that show him obscuring his face behind a dense web of poured lines. That is exactly what, in a sense, the show achieves. The exhibition's point is clear: To show the development of Pollock's pouring technique. When you read the catalogue, you soon realize that its curators are really interested in nothing else, the early work through c. 1946 being disparaged; the late work from 1951 on scanted. But curators do exhibitions from a point of view, the view here is legitimate if limited -- and the catalogue shall be reviewed at 9B in respect to what it contributes to our knowledge of the artist this exhibition both reveals and conceals. As you approach the entrance to the exhibition, that occupies seventeen galleries on MoMA's entire third floor, you see beyond a blue title wall an Orozco-influenced naked man wielding a knife. His arm is seemingly bitten by a second figure, while a third sprawls (safely?) below them. Whether a curatorial point, or a vista's accident, it sets a certain tone of arrested violence that pervades all that is to follow in MoMA's elegantly designed, brilliantly illuminated and extravagantly spacious installation. The surrounding luxury somehow insulates the senses and makes you forget the rage implicit in these works and the essentialism that informs them -- and their impurity of facture that even Varnedoe admits (VK: 52). Kirk Varnedoe, the curator of this exhibition, addresses the matter of Pollock's essentialism in an interview by Sarah Greenberg in The Art Newspaper (November 1998, p. 31). There, he makes the point that Pollock's art seems utterly unironic. It has no trace of cynicism. I agree. Pollock's essentialism -- that I have discussed in the interpretive essays (Pollock Watch Commentaries Nos. 1D to 1K) -- is the opposite of irony -- even that which pervades this paradoxical installation. Life for Pollock was too puzzling, hard, and chthonic to beat around the bush with tangentially clever takes on anything. The instinctive tenor of his mind was that of Occam's razor: Get to the essential point and cut the bullshit. When Hans Hofmann, that future Abstract Expressionist manque, suggested Pollock study nature from a studio set-up, he replied that he was Nature. When a woman asked him how he knew when a poured painting was finished, he asked how she knew when sex was over. His bluntness -- his arrogant disregard of others -- his impatience with anything that did not get to the heart of art or life could be as sharp as a knife -- even if art or life bit back -- and the essential point remained irretrievable. POLLOCK WATCH COMMENTARIES NOS. 1A TO 1Q Introduction -- Going Down to the Weave: The Pollock Watch will offer a series of interpretive essays on individual works by Jackson Pollock. These are derived from a lecture I gave in the summer of 1998: the eleventh annual Pollock-Krasner Lecture, sponsored by the State University of New York's Pollock-Krasner House & Study Center, that is housed in the Pollocks' home at East Hampton, New York. It was given on August 16th at the Guild Hall in East Hampton, and titled JACKSON POLLOCK: DOWN TO THE WEAVE - A COMMENTARY ON A SELECTION OF KEY WORKS. This was, in turn derived from the draft manuscript of a book I have been writing about Pollock of the same title. All references to works by Jackson Pollock will mainly be to the following two publications: -- Francis V. O'Connor, and Eugene V. Thaw, Co-editors, Jackson Pollock: A Catalogue Raisonne of Paintings, Drawings and Other Works. New Haven: Yale University Press, 4 Volumes, 1978. [Hereafter: JPCR. This is the standard illustrated inventory of Pollock works, with a handlist to his library and a documentary chronology.] -- See also Francis V. O'Connor, Editor, Supplement Number One - Jackson Pollock: A Catalogue Raisonne of Paintings, Drawings and Other Works. New York: The Pollock-Krasner Foundation, 1995. [Hereafter JPCR-Sup1. This adds 48 newly discovered works by Pollock to the published oeuvre, includes new documents and photographs, and a section of additions and corrections to the JPCR] Other publications shall be cited in the text either in full, or by author, date and page. For the latter, see the annotated bibliography in the Comment section's Pollock Watch at No. 1C for full citations -- and other books where reproductions can be found. These interpretive essays will not be illustrated for technical reasons, so I shall provide a reference to the Pollock catalogue raisonne. In general, the works discussed shall be sufficiently described in the text so the reader can understand what is being said clearly enough. Where a good color reproduction is available in one of the readily available monographs in the bibliography, I shall give a reference to that also. Before discussing other works by Pollock, let me describe the method I am employing. The phrase down to the weave came to me spontaneously when writing a sonnet about Pollock that was ultimately published in the Art Journal's fall issue in 1988. (I follow the French poet and art critic Charles Baudelaire's notion that only poets should write art criticism.) It is published here with a few slight revisions: The others cozen a space to grope -- mess and measure the colored mud till it tells. Given his rope, he throws chance to knowing blood. You can see the ages of his eye down to the weave. To enthrall monsters is to testify to reenact the primal brawl. Unravel his skeins in space: tease them out like DNA, feature by feature's trace down to the weave where they stay oneiromancy's vote on spectra from young Joseph's coat. Pollock was an individual impatient with anything other than the most direct route to a goal. This is typical of someone severely injured early on by life. Pollock was born strangled by the cord, an event that left him with mild learning and motor disabilities, and most probably, a precocious vulnerability to alcohol. Such persons tend always to be seeking, at least unconsciously, the reasons for their affliction. The outward manifestation of this is what I call an aggressive essentialism. It is the psychological equivalent of political radicalization: that is, when a person is so afflicted by injustice that life is meaningless until equity is restored. Restoring equity, for Pollock then, was to get to the bottom of things at the cost of all intervening superficialities. In Pollock's art, this is symbolized by the laying bare of the historical process by which each work was created. Its stages are clearly visible, most often literally "down to the weave" of the canvas -- thus the title of the lecture, and the book I am writing. No artist among the Abstract Expressionists is more open about revealing the stages that led up to the surface we see. This vertical directionality down to the weave, distinct from any device of perspective (though at times contributing to the spatial drama of the work), is the hallmark of the way Pollock painted. But people want to know what Pollock's works mean? This begs the question of what "meaning" means when interpreting Pollock. Here, I would suggest, meaning is the sum total of three things: what you feel on first encountering the work, what you can see of the qualities of the work that made you feel as you did, what you can know about the work's imagery and intent, and the historical origins and context from which, and in which, it was created. The point to stress here is that the first levels of relevant information in the quest for meaning are visceral and visual, not verbal. These are the realities that I think have been forgotten in the current "literature" on Pollock -- and most serious art. Indeed, one must come to the sad conclusion that for many historians, biographers and critics today, the works of art are not real as objects -- only the theory of explanation is real. This lack of empathy -- this inability to share in another's emotions or feelings -- this inability to see, and through perception, to feel through what is actually there in the art work, but instead to assert only what theory requires to be there -- makes all too much recent art commentary tendentiously distortive, unenlightening, and ultimately useless. What follows applies the method just described in the reviews of the show and its catalogue, and in the commentaries on specific works. GO TO O'CONNOR'S PAGE FOR FULL TEXTS OF REVIEWS 9A and 9B and POLLOCK WATCH COMMENTARIES 1A to 1Q [First published between July 6, 1998 and February 22, 1999] Books on Jackson Pollock: Jackson Pollock, by Kirk Varnedoe and Pepe Karmel. The catalog to the recent MoMA retrospective. Essential. Jackson Pollock; An American Saga, by Steven Naifeh. Biography, light on the art criticism. To a Violent Grave : An Oral Biography of Jackson Pollock, by Jeffrey Potter. An intimate biography, edited by a friend of Pollock from discussions with Pollock's close friends and relatives. The Essential Jackson Pollock, by Justin Spring. An economical and concise introduction to Pollock and his work. The Fate of a Gesture: Jackson Pollock and Postwar American Art, by Carter Ratcliff. A study of gesture in American society, with Pollock as the archetype. Abstract Expressionism

perfect gift present fathers day mothers day birthday Christmas holiday baby shower bridal shower wedding gift

Number 22, 1949 by Jackson Pollock 26x34 Fine-Art Print Number 8, 1949 by Jackson Pollock 50x30 Fine-Art Print Summertime (serigraph on special... by Jackson Pollock 59x16 Fine-Art Print Untitled by Jackson Pollock 31x24 Fine-Art Print Lucifer by Jackson Pollock 40x20 Fine-Art Print Number 33, 1949 by Jackson Pollock 32x26 Fine-Art Print Untitled, 1942-44 by Jackson Pollock 20x28 Fine-Art Print Black and White by Jackson Pollock 39x28 Fine-Art Print Yellow Grey Black, 1948 by Jackson Pollock 32x24 Fine-Art Print Untitled by Jackson Pollock 32x24 Fine-Art Print Greyed Rainbow by Jackson Pollock 32x24 Fine-Art Print Number 26, 1951 (serigraph on sp... by Jackson Pollock 31x45 Fine-Art Print Untitled, 1946 (serigraph) by Jackson Pollock 48x40 Fine-Art Print Lucifer, 1947 by Jackson Pollock 62x34 Fine-Art Print Number 32, 1950 by Jackson Pollock 35x28 Fine-Art Print Untitled, 1951 (serigraph on spe... by Jackson Pollock 52x36 Fine-Art Print Number 27, 1950 by Jackson Pollock 36x24 Fine-Art Print c. 1938-41 Masqued Image 1942 Stenographic Figure 1942 Male and Female 1942 The Moon-Woman c. 1943 Blue (Moby Dick) 1943 The She-Wolf 1946 Eyes in the Heat 1946 Shimmering Substance 1946 The Key n.d. Composition 1946 The Tea Cup 1947 Cathedral 1947 Full Fathom Five 1948 Detail of: Full Fathom Five n.d. Mural 1948 Painting, 1948 1949 Detail of: Number 8, 1949 1950 Lavender Mist: Number 1, 1950 1950 Autumn Rhythm: Number 30, 1950 1951 Number 21 c. 1952 Silver over Black 1953 Ocean Greyness 1953 Easter and the Totem
Fantasy Art - Fine Art - Renaissance - Surrealism - Pop Art - Abstract Art - Cubism Modernism -African American Art - Impressionism - Romanticism - Victorian Era Angels - Dragons - Children - Animals - Birds - Flowers - Landscapes - Beaches College - Comics - Family - Home Decor - Vintage Posters - Americana Movies - Music - Sports - People - Scenic - Travel - Photography Discount Art Gallery and Picture Framing Picasso Art Gallery Discount Art Gallery and Picture Framing Vincent van Gogh Art Gallery Discount Art Gallery and Picture Framing Claude Monet Art Gallery Discount Art Gallery and Picture Framing Henri Matisse Art Gallery Discount Art Gallery and Picture Framing Wassily Kandinsky Art Gallery Discount Art Gallery and Picture Framing Edvard Munch Art Gallery Discount Art Gallery and Picture Framing Paul Klee Art Gallery Discount Art Gallery and Picture Framing Joan Miro Art Gallery Discount Art Gallery and Picture Framing Ansel Adams Art Gallery Discount Art Gallery and Picture Framing Kim Anderson Art Gallery Discount Art Gallery and Picture Framing Salvador Dali Art Gallery Discount Art Gallery and Picture Framing M.C. Escher Art Gallery Discount Art Gallery and Picture Framing Gustav Klimt Art Gallery Discount Art Gallery and Picture Framing Leonardo Da Vinci Art Gallery Discount Art Gallery and Picture Framing Pablo Picasso Art Gallery Discount Art Gallery and Picture Framing Rembrandt Art Gallery Discount Art Gallery and Picture Framing Rene Magritte Art Gallery Discount Art Gallery and Picture Framing Roy Lichtenstein Art Gallery Discount Art Gallery and Picture Framing Jackson Pollock Art Gallery Discount Art Gallery and Picture Framing Piet Mondrian Art Gallery Discount Art Gallery and Picture Framing abstract Art Gallery Art Gallery Discount Art Gallery and Picture Framing abstract landscape Art Gallery Discount Art Gallery and Picture Framing abstract landscape Art Gallery Discount Art Gallery and Picture Framing abstract landscape Art Gallery Discount Art Gallery and Picture Framing abstract landscape Art Gallery Discount Art Gallery and Picture Framing abstract landscape Art Gallery Discount Art Gallery and Picture Framing Edward Hopper Art Gallery Discount Art Gallery and Picture Framing Henri de Toulouse-Lautrec Art Gallery Discount Art Gallery and Picture Framing Frisco, Texas Discount Art Gallery and Picture Framing Plano, Texas Discount Art Gallery and Picture Framing Allen, Texas Discount Art Gallery and Picture Framing Dallas, Texas Discount Art Gallery and Picture Framing Illinois
Discount Art Gallery and Picture Framing Frisco, Texas
Discount Art Gallery and Picture Framing McKinney, Texas
Discount Art Gallery and Picture Framing Allen, Texas
Discount Art Gallery and Picture Framing Dallas, Texas
Discount Art Gallery and Picture Framing Houston, Texas
Discount Art Gallery and Picture Framing Austin, Texas
Discount Art Gallery and Picture Framing Amarillo, Texas
Discount Art Gallery and Picture Framing El Paso, Texas
Discount Art Gallery and Picture Framing Richardson, Texas
Discount Art Gallery and Picture Framing Arlington, Texas
Discount Art Gallery and Picture Framingt Worth, Texas
Discount Art Gallery and Picture Framing Galveston, Texas
Discount Art Gallery and Picture Framing San Angelo, Texas
Discount Art Gallery and Picture Framing San Antonio, Texas
Discount Art Gallery and Picture Framing Corpus Christi, Texas
Discount Art Gallery and Picture Framing Garland, Texas
Discount Art Gallery and Picture Framing Lubbock, Texas
Discount Art Gallery and Picture Framing Laredo, Texas


Discount Art Gallery and Picture Framing Irving, Texas
Discount Art Gallery and Picture Framing Alabama
Discount Art Gallery and Picture Framing Alaska Discount Art Gallery and Picture Framing Arizona Discount Art Gallery and Picture Framing Arkansas Discount Art Gallery and Picture Framing California
Discount Art Gallery and Picture Framing Colorado Discount Art Gallery and Picture Framing Connecticut Discount Art Gallery and Picture Framing Delaware Discount Art Gallery and Picture Framing Georgia Discount Art Gallery and Picture Framing Hawaii Discount Art Gallery and Picture Framing Idaho Discount Art Gallery and Picture Framing Indiana Discount Art Gallery and Picture Framing Iowa Discount Art Gallery and Picture Framing Kansas Discount Art Gallery and Picture Framing Louisiana Discount Art Gallery and Picture Framing Maine Discount Art Gallery and Picture Framing Maryland Discount Art Gallery and Picture Framing Massachusetts Discount Art Gallery and Picture Framing Michigan Discount Art Gallery and Picture Framing Minnesota Discount Art Gallery and Picture Framing Mississippi Discount Art Gallery and Picture Framing Missouri Discount Art Gallery and Picture Framing Montana Discount Art Gallery and Picture Framing Nebraska Discount Art Gallery and Picture Framing Nevada Discount Art Gallery and Picture Framing New Hampshire Discount Art Gallery and Picture Framing New Jersey Discount Art Gallery and Picture Framing New Mexico Discount Art Gallery and Picture Framing New York Discount Art Gallery and Picture Framing North Carolina Discount Art Gallery and Picture Framing North Dakota Discount Art Gallery and Picture Framing Ohio Discount Art Gallery and Picture Framing Oklahoma Discount Art Gallery and Picture Framing Oregona Discount Art Gallery and Picture Framing Pennsylvania Discount Art Gallery and Picture Framing Rhode Island Discount Art Gallery and Picture Framing South Dakota Discount Art Gallery and Picture Framing Tennessee Discount Art Gallery and Picture Framing Utah Discount Art Gallery and Picture Framing Vermont Discount Art Gallery and Picture Framing Virginia Discount Art Gallery and Picture Framing Washington Discount Art Gallery and Picture Framing Washington D.C. Discount Art Gallery and Picture Framing West Virginia Discount Art Gallery and Picture Framing Wisconsin Discount Art Gallery and Picture Framing Wyoming