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Autumn Rhythm (Number 30) is a 1950 abstract expressionist painting by American artist Jackson Pollock in the collection of the Metropolitan Museum of Art in New York City. [1] The work is a distinguished example of Pollock's 1947-52 poured-painting style, and is often considered one of his most notable works. [1] [2]
Jackson Pollock and art critic Clement Greenberg saw Sobel's work there in 1946 and later Greenberg noted that Sobel was "a direct influence on Jackson Pollock's drip painting technique". [53] 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 ...
One: Number 31, 1950 is a painting by American painter Jackson Pollock, from 1950. It is one of the largest and most prominent examples of the artist's Abstract Expressionist drip-style works. [1] The work was owned by a private collector until 1968 when it was purchased by the Museum of Modern Art, in New York, where it has been displayed ...
Download as PDF; Printable version; In other projects Wikidata item ... Media in category "Paintings by Jackson Pollock" The following 2 files are in this category ...
Renowned art collector and supporter Ben Heller [5] acquired the painting in 1957 a year after Jackson Pollock died for a reported $32,000. [6] Heller was friends with Pollock and patronized him and many other American artists during his lifetime. [7] Blue Poles hung in the living room of Heller's 10th floor New York apartment on Central Park ...
Number 17A is an abstract expressionist painting by American painter Jackson Pollock, from 1948. The painting is oil paint on fiberboard and is a drip painting, created by splashing paint onto a horizontal surface. It was painted a year after Jackson Pollock introduced his drip technique.
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Pollock repaired the damage to the painting by completely repainting the original, in contrast to how other artworks are repaired. The reconstruction had not only retained but reinforced the metaphysical concept of the painting, and has become what Ossorio calls "a wonderful example of an artist having a second chance".