The Painting Techniques of Jackson Pollock

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The Painting Techniques of Jackson Pollock발음듣기

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Three years prior to making of this painting Pollock was working on a small easel painting.발음듣기

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He'd struggled on it for a while and he decided to take that painting off the easel, place it on the floor and then pour some paint on the surface to finish it.발음듣기

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From this deceptively simple decision an entire set of creative possibilities opened up to Pollock and he spent the next five years of his career exploring them.발음듣기

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Now in the studio let's see exactly how Pollock worked.발음듣기

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Placing the canvas on the floor Pollock no longer remained in physical contact with the canvas while painting.발음듣기

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Instead of using conventional artist brushes to push or smear liquid paint across the surface of the painting Pollock now used things like sticks, even turkey basters or dried paint brushes hard as a rock that he variously dripped, drizzled, poured or splashed paint on to the canvas below him from.발음듣기

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Pollock used very fluid alkyd enamel paints the kind of paint you can paint your car with, the kind of paint you can paint your radiator with.발음듣기

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Because the paint was so fluid Pollock essentially drew in space so that drawing elements would happen quite literally in the air before falling down to the canvas below sometimes thick, sometimes thin, a rhythm of poured paint would develop across the surface of the painting.발음듣기

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Now if you know that the painting was painted on the floor, if you know that the paint has a very low viscosity you can very easily imagine the kind of physical activities that would go into the making of this type of painting.발음듣기

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Art historians at the time coined this kind of painting, "action painting" because of this very idea that you could imagine quite viscerally the actions that went into the making of a painting.발음듣기

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Now specifically, we're talking about the actions of almost a dancer.발음듣기

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You can imagine Pollock's feet shuffling around the painting.발음듣기

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You can imagine rotations of the elbow and of the shoulder variously launching or slowly drizzling paint on to the canvas below.발음듣기

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For Pollock the drama of making this painting on the floor meant that not only physically but emotionally he could be in the painting, stepping into the canvas but also losing himself in almost this trance-like rezone-like type of painting process looking at the paint below you on the surface of the canvas, reacting to it and adjusting whatever gestures you have to create this painting.발음듣기

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Now traditionally in painting people would compose one shape according to another one, a little bit of red here according to a little bit blue there according to a lot of yellow over here.발음듣기

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Well for Pollock he threw that out the window as he did so many things.발음듣기

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Rather, Pollock is composing one line in juxtaposition with another one and not in any haphazard way but rather in an all-over way and this all-overness, if you will, becomes key for Pollock.발음듣기

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Since looking at this painting there's no one spot for your eye to rest.발음듣기

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Traditionally, line had been used quite literally to delineate forms, to draw the outlines of forms which would be filled in.발음듣기

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You can imagine landscape paintings the lines defining the mountains, clouds and so on.발음듣기

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Well here the lines are not defining anything.발음듣기

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Line becomes here autonomous and for the first time is liberated from its historical role in painting of describing other shapes.발음듣기

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In 1950, the drama of making this painting was actually captured by a photographer and filmmaker so that the performance of making this painting captured the public's imagination as never before.발음듣기

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Not only that but other artists were profoundly influenced by this radically new way of working, not only painters but well, performance artists can be traced back to this very, very formative moment, very important moment in American art history.발음듣기

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