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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 ...
Download as PDF; Printable version; ... Buffalo AKG Art Museum, Buffalo: Convergence is an oil painting by Jackson Pollock, from 1952.
All-over painting refers to the non-differential treatment of the surface of a work of two-dimensional art, for instance a painting. This concept is most popularly thought of as emerging in relation to the so-called "drip" paintings of Jackson Pollock and the "automatic writing" or "abstract calligraphy" of Mark Tobey in the 1950s, though the applicability of the term all-over painting would ...
Mural is a largely abstract work with the suggestion of several human figures walking, or possibly birds, or letters and numbers, in broad swirls of black and white. It combines influences from artists such as Thomas Hart Benton, Albert Pinkham Ryder and El Greco, and Mexican mural artists such as David Alfaro Siqueiros.
Abstract expressionism expanded and developed the definitions and possibilities artists had available for the creation of new works of art. In a sense, the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt and others, opened the floodgates to ...
Artists realized that Jackson Pollock's process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially took art-making beyond any prior ...
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.
Pollock here uses a combination of dripping black and white paints, only to break it down with touches of yellow. There are many interpretations of the meaning of the painting, and the painting's name, most often as a deep and profound void or hole, a viscous cut, or a dying man. [4]