1. Abstract Expressionism

2. Jackson Pollock: Revolutions in Painting
MoMA Abstract Expressionism Theme

3. Questions
Why might an artist choose to paint abstractly instead of representationally—depicting figures, shapes, objects, or scenes?
What kinds of choices do artists make when painting?
MoMA Abstract Expressionism Theme

4. Take a close look at One: Number 31, by Jackson Pollock…
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This work is an example of what is called an “allover” painting. Allover painting refers to a canvas covered in paint from edge to edge and from corner to corner, in which each area of the composition is given equal attention and significance. This is a radically different approach from modes of painting that offer specific focal points, such as the sitter's face in the case of a portrait. With an allover composition, our eyes are invited to wander across the canvas from the top to the bottom, following lines, shapes, and colors.
To create this and his other drip paintings, Pollock began by tacking unstretched, unprimed canvas to the floor. He would use hard brushes, turkey basters, and wooden sticks dipped in paint to splatter and drip color across the canvas. This method required not just the use of his wrist and arm, but his entire body.
Referring to his process, Pollock said:
“I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. I prefer sticks, trowels, knives and dripping fluid paint....When I am in my painting, I'm not aware of what I'm doing. It is only when I lose contact with the painting that the result is a mess.”
[Jackson Pollock, quoted in Kirk Varnedoe, Jackson Pollock (New York: The Museum of Modern Art, 1998), p. 48.]
Jackson Pollock. One: Number 31,
Oil and enamel paint on canvas, 8' 10" x 17' 5 5/8" (269.5 x cm). Sidney and Harriet Janis Collection Fund (by exchange).
© 2012 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Jackson Pollock. One: Number 31, 1950
What words would you use to describe this painting?
What gestures or movements did Pollock make, based on what you see?
How would you describe the lines in the painting?
MoMA Abstract Expressionism Theme

5. Let’s look at Jacob’s Ladder by Helen Frankenthaler
How does Frankenthaler use lines to create shapes?
What kinds of shapes do you see in her work?
What gestures or movements did Frankenthaler have to make, based on what you see?
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Like Pollock, Frankenthaler experimented with line and paint. Frankenthaler developed a painting technique in which she thinned pigments with turpentine so that they soaked through and stained the unprimed canvas rather than resting on the surface. The images and colors then become embedded in the picture, in the fabric of the canvas, resembling giant watercolors.
Helen Frankenthaler. Jacob's Ladder
Oil on canvas, 9' 5 3/8" x 69 7/8" (287.9 x cm).
Gift of Hyman N. Glickstein.
© 2012 Helen Frankenthaler / Artists Rights Society (ARS), New York
Helen Frankenthaler. Jacob's Ladder
MoMA Abstract Expressionism Theme

6. Let’s compare Pollock and Frankenthaler
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Frankenthaler has spoken about opposites in her work—about a combination of freedom and restraint; accident and control.
When Frankenthaler saw Pollock's work for the first time, she said, "It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there. I wanted to live in this land. I had to live there, and master the language."
[Helen Frankenthaler, quoted in Helen Frankenthaler (New York: Harry N. Abrams, 1989), p. 37.]
In November 20, 1950, Time magazine quoted an Italian critic who wrote of Pollock’s work, “It is easy to detect the following things in all of his paintings: Chaos. Absolute lack of harmony. Complete lack of structural organization. Total absence of technique, however rudimentary. Once again, chaos.”
Pollock replied with a telegram stating, “No chaos, damn it.” Although he worked spontaneously and admitted chance effects into his work, Pollock asserted that he maintained control while making his drip paintings.
Jackson Pollock. One: Number 31,
Oil and enamel paint on canvas, 8' 10" x 17' 5 5/8" (269.5 x cm). Sidney and Harriet Janis Collection Fund (by exchange).
© 2012 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Helen Frankenthaler. Jacob's Ladder
Oil on canvas, 9' 5 3/8" x 69 7/8" (287.9 x cm).
Gift of Hyman N. Glickstein.
© 2012 Helen Frankenthaler / Artists Rights Society (ARS), New York
Jackson Pollock. One: Number 31, 1950
Helen Frankenthaler. Jacob's Ladder
How are these paintings similar?
How are they different?
MoMA Abstract Expressionism Theme

7. Let’s compare Pollock and Frankenthaler
Share this information with your students:
Frankenthaler has spoken about opposites in her work—about a combination of freedom and restraint; accident and control.
When Frankenthaler saw Pollock's work for the first time, she said, "It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there. I wanted to live in this land. I had to live there, and master the language."
[Helen Frankenthaler, quoted in Helen Frankenthaler (New York: Harry N. Abrams, 1989), p. 37.]
In November 20, 1950, Time magazine quoted an Italian critic who wrote of Pollock’s work, “It is easy to detect the following things in all of his paintings: Chaos. Absolute lack of harmony. Complete lack of structural organization. Total absence of technique, however rudimentary. Once again, chaos.”
Pollock replied with a telegram stating, “No chaos, damn it.” Although he worked spontaneously and admitted chance effects into his work, Pollock asserted that he maintained control while making his drip paintings.
Jackson Pollock. One: Number 31,
Oil and enamel paint on canvas, 8' 10" x 17' 5 5/8" (269.5 x cm). Sidney and Harriet Janis Collection Fund (by exchange).
© 2012 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Helen Frankenthaler. Jacob's Ladder
Oil on canvas, 9' 5 3/8" x 69 7/8" (287.9 x cm).
Gift of Hyman N. Glickstein.
© 2012 Helen Frankenthaler / Artists Rights Society (ARS), New York
Jackson Pollock. One: Number 31, 1950
Helen Frankenthaler. Jacob’s Ladder, 1928
Do these paintings convey chaos or control?
What do you think?
MoMA Abstract Expressionism Theme

8. Questions
Why might an artist choose to paint abstractly instead of representationally—depicting figures, shapes, objects, or scenes?
What kinds of choices do artists make when painting?
MoMA Abstract Expressionism Theme