Word: pollock
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Dates: during 1960-1969
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...when not studying at the Art Students League. Arshile Gorky, the Armenian refugee, was initially a devotee of Ingres, Léger, Matisse, Cézanne and Kandinsky. Robert Motherwell drew much of his inspiration from Matisse. De Kooning, the Dutch immigrant, was closer to Cubism and de Stijl; Pollock, the shy Westerner, studied under Thomas Hart Benton, and was influenced by Mexico's David Alfaro Siqueiros and José Clemente Orozco. They all talked-and talked. Critic Thomas Hess observes that "a long, chaotic, brilliant, funny conversation about art began in the mid-1930s and continued for more...
Lingering Symbols. The dream totems and the enigmatic pictographs of the early canvases of Adolph Gottlieb, Pollock and Rothko also betrayed surrealist origin. As Curator Rubin observes, the moody, poetic, apocalyptic spirit that broods over explicitly surrealistic pictures lingers in the later, totally abstract canvases of these same artists. To emphasize this point, Rothko's Magenta, Black, Green on Orange is placed in a small, partially darkened, melancholy chapel-like gallery, while the spiky Gothic tracery of Clyfford Still's painting, 1947-J shares a gallery with four other Stills-and a spiky Gothic metal sculpture by Theodore...
...Pollock in particular borrowed the surrealists' "automatist" technique of letting the unconscious direct the brush. The single room in which 15 of the museum's Pollocks are displayed is easily the highlight of the far-ranging exhibition...
From the beginning of his life, as the son of a ne'er-do-well West Coast farmer. Pollock seems to have been a depressed soul. "This so-called happy part of one's life, youth, to me is a bit of damnable hell," he confessed at the age of 18. Throughout his later life, he fought a constant battle with drink, miserably shy when sober, painfully rambunctious when drunk...
...Most modern painters," Pollock once said, "work from within. The unconscious is a very important side of modern art." No other artist has ever utilized the unconscious as brilliantly as he. Full Fathom Five is not the largest or most significant Pollock at the current exhibition, but it has a special fascination, for it contains in embryo the later paintings of Robert Rauschenberg and Jasper Johns. Its panorama of steely swirls is underlaid with nails, cigarettes, tacks, buttons and other detritus-yet all made lovely, as it were, by lying drowned at the bottom of a sea of paint, vividly...