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The fundamental concept of aesthetic activity must be sought in ongoing experimentation with ways of command of the artist, and is found mostly in the relationship between man and his immediate environment. This should be kept in mind when we read statements by Pollock rare that reveal his attitude towards the work of art. Pollock painting is as direct as the paint may be; preliminary sketches have been removed entirely. The experience of the artist, who often reflects to a remarkable degree of consciousness strata with their different content, makes sense active at a time when the act of painting makes concrete form; its expressive power is accentuated by a synthesis of successive moments in which the experience of creation takes place.
What the painter never forget - and this can only be determined by an unconscious impulse or instinct - is the value of its action, this action is actually a result of experimentation and it is the only concrete data that the artist recognizes. That is why Pollock needed to lay the canvas flat on the floor, walking around, going in, and thus to identify the image as closely as possible with the physical act of painting . Rather than just externalization, a projection of his personality on the canvas, this method allowed him to achieve something more: the unification of an entity, the external hardware and mechanics, with an intellectual and emotional state.
The stated intention of Pollock was to express his feelings, not to describe them. And because the material means employed for this purpose have been so closely identified with his mental and emotional life, there was no need to assimilate to a traditional technique, such a technique, at least, could have served express a contemplative entirely foreign to his temperament. But at the same time - and in this he had no choice - he had to bear the full force of his material, before their transformation into valid forms of expression. Brush stroke Pollock colorwork pure, as he invented his famous drip technology. For traditional pigments mixed on the palette, he came to replace ordinary commercial paints such as Duco. Sometimes he worked on a metal support, scratching and piracy, as if to impress mark of violence on it - a violent temperament identified with that of matter itself.
Immediate sensations have been translated in terms of immediate experience. In these circumstances it was natural at some point in Pollock to feel a closer link of sympathy with Surrealism than with any other modern movement - but only temporarily. And even then, he recast and adapted whatever he took over from surrealism, stripping it of everything that was foreign to his purpose, before finally releasing it altogether and the mastery of a style its own, shaped by hand experience of life approaching a materialistic ideology. It was a style composed, ultimately, more heated intensely personal, an expressionist strain typical of any one aspect of American painting.
Jackson Pollock was born in Cody, Wyoming, in 1912 and was killed in an automobile accident in 1956. He grew up in Arizona and California and attended the Art School Manual High in Los Angeles. He then moved to New York and began training seriously at the Art Students League of Thomas Hart Benton. Looking back on his education in the following years, Pollock has recognized the importance of his classes with Benton was because they triggered a violent reaction against the ideas of his master. Benton started from a position vaguely avant-garde, but the time has come for him Pollock in 1929, he became one of the strongest representatives of the revolt against modern art, which coincided with if Curiously the Great Depression, it was one of the painters of the "American Scene."
After 1930, the revolt was led by a "triumvirate" consisting of Benton, John Steuart Curry and Grant Wood. This movement in the direction of regional realism - unlike the movement characterized by Hopper, which was driven by social ideals - was deeply reactionary, not only in painting. Its guiding objectives were essentially macho. Thomas Craven, a leading spokesman of American regionalism, described him as to finally break free from the "tradition emasculated French modernist movement." He said the Triumvirate to end "enslavement American overseas cultural fashions."
It was probably through expressionism as Pollock intuitively grasped the meaning of Picasso's painting as it developed after 1937. Guernica has taught him to dominate like a drama, while harnessing its strength in the image, it showed him above all the possibilities inherent in the psychological expression of the form, he taught him, that is, -make the most dramatic consequences of emotional experience of consciousness. What he learns from Picasso became the starting point for his later work, which was also a significant debt to surrealism. Something has been said in an earlier chapter to the likely influence of Masson, but the painter that he has always admired the most, in collaboration with Picasso, Miró was, for that, we clean the floor of Pollock. There was another example of life, closer at hand, which he also took to heart, that of Arshile Gorky, who had come to an automatic image boundaries that could be useful to him.
At the same time, the persistence of a type of modulation formal expressionist, evolving in a direction totally abstract, may well have influenced Pollock, through, for example, the work of Willem of de Kooning. Today, of course, the personality of Pollock entered the match with the full force of its originality, and these external influences should not be magnified into something more than they really were: the exchange momentary between several contemporary artists whose cultural background had a good many similarities, but whose subsequent lines of development tend to diverge more and more.
Pollock to 1944 showed a keen interest in the density and richness of texture in images, such as Gothic, where he seemed to be the test as a means of emotional concentration. From 1947, his interest in the texture of the materials was unshakable; on these materials, their textures, he established the autonomy of his pictorial language. Going beyond surrealism, which now was for him an influence cultural replaced, through an intensification of surfaces masterly Pollock has managed to create a new kind of painting-painting with a new meaning.
After the relatively small size pictures of his early maturity (eg Shimmering Substance 1946), with effects essentially pictorial texture, Pollock has gradually increased the scope and focus of its expressive power in really large compositions, which magnitude gave full scope of the constraint that drives him to create, within the very sizable surface of the table, something surprisingly new: an autonomous object, made up not only the work itself but the identity established between artist and work. And construction in informal appearance of the surfaces is in fact organized along strict lines are obviously not determined by a geometric pattern or a strict distribution of forms, but by an order created by the gesture and movement of the hand, by a competent technique, although anything but orthodox, is not less accurate and precise. Indeed, it is difficult to realize the full extent of the jurisdiction of Pollock and precision in handling his materials until we have taken the trouble to examine his signwork complex and overlapping coats of paint from to fingertips.
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