Jackson Pollock 1

Jackson Pollock

Jackson Pollock

Photographer Hans Namuth extensively documented Pollock's unique painting techniques.Birth name Paul Jackson Pollock

Born January 28, 1912Cody, Wyoming, U.S.

Died August 11, 1956 (aged 44)Springs, New York, U.S.

Nationality American

Field Painter

Training Art Students League of New York

Movement Abstract expressionism

Patrons Peggy Guggenheim

Influenced by Thomas Hart Benton, Pablo Picasso [1] [2] [3]

Influenced Helen Frankenthaler

Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influentialAmerican painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyedconsiderable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, andstruggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an importantinfluence on his career and on his legacy.[4]

Pollock died at the age of 44 in an alcohol-related car accident. In December 1956, he was given a memorialretrospective exhibition at the Museum of Modern Art (MoMA) in New York City, and a larger more comprehensiveexhibition there in 1967. More recently, in 1998 and 1999, his work was honored with large-scale retrospectiveexhibitions at MoMA and at The Tate in London.[5]

In 2000, Pollock was the subject of an Academy Award–winning film Pollock directed by and starring Ed Harris.

Early lifePollock was born in Cody, Wyoming in 1912,[6] the youngest of five sons. His parents, Stella May McClure and Leroy Pollock, grew up in Tingley, Iowa. His father had been born McCoy but took the surname of his neighbors, who adopted him after his own parents had died within a year of each other. Stella and LeRoy Pollock were Presbyterian; the former, Irish; the latter, Scotch-Irish.[7] LeRoy Pollock was a farmer and later a land surveyor for the government.[6] Jackson grew up in Arizona and Chico, California. Expelled from one high school in 1928, he enrolled at Los Angeles' Manual Arts High School, from which he was also expelled. During his early life, he experienced Native American culture while on surveying trips with his father.[6] [8] In 1930, following his brother

Jackson Pollock 2

Charles Pollock, he moved to New York City where they both studied under Thomas Hart Benton at the Art StudentsLeague of New York. Benton's rural American subject matter shaped Pollock's work only fleetingly, but hisrhythmic use of paint and his fierce independence were more lasting influences.[6] From 1935 to 1943, Pollockworked for the WPA Federal Art Project.[9]

In attempts to fight his alcoholism, from 1938 through 1941 Pollock underwent Jungian psychotherapy with Dr.Joseph Henderson and later with Dr. Violet Staub de Laszlo in 1941-1942. Henderson made the decision to engagehim through his art and had Pollock make drawings, which led to the appearance of many Jungian concepts in hispaintings.[10] [11] Recently it has been hypothesized that Pollock might have had bipolar disorder.[12]

The Springs period and the unique technique

No. 5, 1948

In October 1945 Pollock married American painter Lee Krasner, and inNovember they moved to what is now known as the Pollock-KrasnerHouse and Studio, at 830 Springs Fireplace Road, in Springs on LongIsland, NY. Peggy Guggenheim lent them the down payment for thewood-frame house with a nearby barn that Pollock converted into astudio. There he perfected the technique of working with paint withwhich he became permanently identified.

Pollock was introduced to the use of liquid paint in 1936 at anexperimental workshop operated in New York City by the Mexicanmuralist David Alfaro Siqueiros. He later used paint pouring as one ofseveral techniques on canvases of the early 1940s, such as "Male andFemale" and "Composition with Pouring I." After his move to Springs,he began painting with his canvases laid out on the studio floor, and hedeveloped what was later called his "drip" technique, turning tosynthetic resin-based paints called alkyd enamels, which, at that time,was a novel medium. Pollock described this use of household paints,instead of artist’s paints, as "a natural growth out of a need."[13] Heused hardened brushes, sticks, and even basting syringes as paintapplicators. Pollock's technique of pouring and dripping paint isthought to be one of the origins of the term action painting. With thistechnique, Pollock was able to achieve a more immediate means ofcreating art, the paint now literally flowing from his chosen tool ontothe canvas. By defying the convention of painting on an uprightsurface, he added a new dimension by being able to view and apply

paint to his canvases from all directions. One possible influence on Pollock was the work of the Ukrainian Americanartist Janet Sobel (1894–1968) (born Jennie Lechovsky). Sobel's work is related to the so-called "drip paintings" ofJackson Pollock.[14] Peggy Guggenheim included Sobel's work in her The Art of This Century Gallery in 1945. Thecritic Clement Greenberg, with Jackson Pollock, saw Sobel's work there in 1946,[15] and in his essay "'American-Type' Painting" cited those works as the first instance of all-over painting he had seen."[16]

In the process of making paintings in this way, he moved away from figurative representation, and challenged theWestern tradition of using easel and brush. He also moved away from the use of only the hand and wrist, since heused his whole body to paint. In 1956, Time magazine dubbed Pollock "Jack the Dripper" as a result of his uniquepainting style.[17]

"My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting,

Jackson Pollock 3

since this way I can walk around it, work from the four sides and literally be in the painting."I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks,trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matteradded."When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' periodthat I see what I have been about. I have no fear of making changes, destroying the image, etc., because thepainting has a life of its own. I try to let it come through. It is only when I lose contact with the painting thatthe result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.-- Jackson Pollock, My Painting [18], 1956

Pollock observed Indian sandpainting demonstrations in the 1940s. Other influences on his dripping techniqueinclude the Mexican muralists and Surrealist automatism. Pollock denied "the accident"; he usually had an idea ofhow he wanted a particular piece to appear. His technique combined the movement of his body, over which he hadcontrol, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture ofcontrollable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energeticallyaround the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.Studies by Taylor, Micolich and Jonas have examined Pollock's technique and have determined that some worksdisplay the properties of mathematical fractals.[19] They assert that the works become more fractal-likechronologically through Pollock's career.[20] The authors even speculate that Pollock may have had an intuition ofthe nature of chaotic motion, and attempted to form a representation of mathematical chaos, more than ten yearsbefore "Chaos Theory" itself was proposed. Other experts[21] suggest that Pollock may have merely imitated populartheories of the time in order to give his paintings a depth not previously seen.

Pollock's Studio in Springs, New York.

In 1950, Hans Namuth, a young photographer, wanted to take pictures(both stills and moving) of Pollock at work. Pollock promised to start anew painting especially for the photographic session, but whenNamuth arrived, Pollock apologized and told him the painting wasfinished. Namuth's comment upon entering the studio:

A dripping wet canvas covered the entire floor … There wascomplete silence … Pollock looked at the painting. Then,unexpectedly, he picked up can and paint brush and started tomove around the canvas. It was as if he suddenly realized thepainting was not finished. His movements, slow at first,gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas.He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter … Myphotography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did notstop. How could one keep up this level of activity? Finally, he said 'This is it.'

Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we arenot made to feel that one part of the canvas demands to be read as figure, whether abstract or representational,against another part of the canvas read as ground. There is not inside or outside to Pollock’s line or the spacethrough which it moves…. Pollock has managed to free line not only from its function of representing objectsin the world, but also from its task of describing or bounding shapes or figures, whether abstract orrepresentational, on the surface of the canvas.(Karmel 132)

Jackson Pollock 4

The 1950sPollock's most famous paintings were made during the "drip period" between 1947 and 1950. He rocketed to popularstatus following an August 8, 1949 four-page spread in Life magazine that asked, "Is he the greatest living painter inthe United States?" At the peak of his fame, Pollock abruptly abandoned the drip style.[22]

Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases. Thiswas followed by a return to color,[23] and he reintroduced figurative elements. During this period Pollock had movedto a more commercial gallery and there was great demand from collectors for new paintings. In response to thispressure, along with personal frustration, his alcoholism deepened.[24]

From naming to numberingPollock wanted an end to the viewer's search for representational elements in his paintings, and so he abandonedtitles and started numbering the paintings instead. Of this, Pollock commented: "...look passively and try to receivewhat the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for."Pollock's wife, Lee Krasner, said Pollock "used to give his pictures conventional titles... but now he simply numbersthem. Numbers are neutral. They make people look at a picture for what it is - pure painting."[13]

Death

Jackson Pollock's grave in the rear with LeeKrasner's grave in front in the Green River

Cemetery.

In 1955, Pollock painted Scent and Search which would be his last twopaintings.[25] Pollock did not paint at all in 1956.[23] After strugglingwith alcoholism for his entire adult life, Pollock, on August 11, 1956 at10:15pm, died in a single-car crash in his Oldsmobile convertible whiledriving under the influence of alcohol. One of the passengers, EdithMetzger, was also killed in the accident, which occurred less than amile from Pollock's home. The other passenger, Pollock's mistressRuth Kligman, survived.[26] After Pollock's demise at age 44, hiswidow, Lee Krasner, managed his estate and ensured that Pollock'sreputation remained strong despite changing art-world trends. They areburied in Green River Cemetery in Springs with a large bouldermarking his grave and a smaller one marking hers.

LegacyThe Pollock-Krasner House and Studio is owned and administered by the Stony Brook Foundation, a non-profitaffiliate of Stony Brook University. Regular tours of the house and studio occur from May through October.A separate organization, the Pollock-Krasner Foundation, was established in 1985. The Foundation functions as theofficial Estate for both Pollock and his widow Lee Krasner, but also, under the terms of Krasner's will, serves "toassist individual working artists of merit with financial need."[27] The U.S. copyright representative for thePollock-Krasner Foundation is the Artists Rights Society (ARS).[28]

His papers were donated by Lee Krasner in 1983 to the Archives of American Art. They were later included withLee Krasner's own papers. The Archives of American Art also houses the Charles Pollock Papers which includescorrespondence, photographs, and other files relating to his brother, Jackson Pollock.

Jackson Pollock 5

Pollock in pop culture & newsIn 1960, Ornette Coleman's album Free Jazz featured a Pollock painting as its cover artwork.In 1973, Blue Poles (Blue Poles: Number 11, 1952), was purchased by the Australian Whitlam Government for theNational Gallery of Australia for US $2 million (AU $1.3 million at the time of payment). At the time, this was thehighest price ever paid for a modern painting. In the conservative climate of the time, the purchase created a politicaland media scandal. The painting is now one of the most popular exhibits in the gallery, and is thought to be worthbetween $100 and $150 million, according to 2006 estimates.[29] It was a centerpiece of the Museum of ModernArt's 1998 retrospective in New York, the first time the painting had returned to America since its purchase.British indie band the Stone Roses were heavily influenced by Pollock, with their cover artwork being pastiches ofhis work.[30]

In 1999 a CD titled Jackson Pollock Jazz was released and only available at the MOMA. The CD had 17 tracks withselections from Pollock's personal collection of jazz records. The CD has been discontinued.In 2000, the biographical film Pollock was released. Marcia Gay Harden won the Academy Award for BestSupporting Actress for her portrayal of Lee Krasner. The movie was the project of Ed Harris who portrayed Pollockand directed it. He was nominated for the Academy Award for Best Actor.In 2003, twenty-four Pollock-esque paintings and drawings were found in a Wainscott, New York locker. There is aninconclusive ongoing debate about whether or not these works are Pollock originals. Physicists have argued overwhether fractals can be used to authenticate the paintings. This would require an analysis of geometric consistency ofthe paint splatters in Pollock's work at a microscopic level, and would be measured against the finding that patternsin Pollock's paintings increased in complexity with time.[31] Analysis of the synthetic pigments shows that somewere not patented until the 1980s, and therefore that it is highly improbable that Pollock could have used suchpaints.[32] [33]

In November 2006, Pollock's No. 5, 1948 became the world's most expensive painting, when it was sold privately toan undisclosed buyer for the sum of $140,000,000. The previous owner was film and music-producer David Geffen.It is rumored that the current owner is a German businessman and art collector.Also in 2006 a documentary, Who the #$&% Is Jackson Pollock? was made concerning Teri Horton, a truck driverwho in 1992 bought an abstract painting for the price of five dollars at a thrift store in California. This work may bea lost Pollock painting. If so it would potentially be worth millions; its authenticity, however, remains debated.In September 2009, Henry Adams claimed in Smithsonian Magazine that Pollock had written his name in his famouspainting "Mural"[34]

Relationship to Native American artPollock stated: “I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sidesand literally be in the painting. This is akin to the methods of the Indian sand painters of the West.”[35]

Critical debatePollock's work has always polarized critics and has been the focus of many important critical debates.In a famous 1952 article in ARTnews, Harold Rosenberg coined the term "action painting," and wrote that "what wasto go on the canvas was not a picture but an event. The big moment came when it was decided to paint 'just to paint.'The gesture on the canvas was a gesture of liberation from value — political, aesthetic, moral." Many peopleassumed that he had modeled his "action painter" paradigm on Pollock. Clement Greenberg supported Pollock'swork on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in form andelimination of historical content. He therefore saw Pollock's work as the best painting of its day and the culminationof the Western tradition going back via Cubism and Cézanne to Manet.

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The critic Robert Coates once derided a number of Pollock’s works as “mere unorganized explosions of randomenergy, and therefore meaningless.” [36]

Some posthumous exhibitions of Pollock's work were sponsored by the Congress for Cultural Freedom, anorganization to promote American culture and values backed by the CIA. Certain left-wing scholars, mostprominently Eva Cockcroft, argue that the U.S. government and wealthy elite embraced Pollock and abstractexpressionism in order to place the United States firmly in the forefront of global art and devalue socialistrealism.[37] [38] In the words of Cockcroft, Pollock became a "weapon of the Cold War".[39] Painter NormanRockwell's work Connoisseur[40] also appears to make a commentary on the Pollock style. The painting featureswhat seems to be a rather upright man in a suit standing before a Jackson Pollock-like spatter painting.Reynold's News in a 1959 headline said, "This is not art — it's a joke in bad taste."[37]

List of major works

Number 1, 1950 (Lavender Mist), National Gallery of Art, Washington, DC.

• (1942) Male and Female PhiladelphiaMuseum of Art[41]

• (1942) Stenographic Figure Museum ofModern Art[42]

• (1943) Mural University of IowaMuseum of Art,[43] currently housed atthe Figge Art Museum[44]

• (1943) Moon-Woman Cuts the Circle[45]

• (1943) The She-Wolf Museum of ModernArt[46]

• (1943) Blue (Moby Dick) Ohara Museumof Art[47]

• (1945) Troubled Queen Museum of FineArts, Boston[48]

• (1946) Eyes in the Heat PeggyGuggenheim Collection, Venice[49]

• (1946) The Key Art Institute of Chicago[50]

• (1946) The Tea Cup Collection Frieder Burda[51]

• (1946) Shimmering Substance, from The Sounds In The Grass Museum of Modern Art[52]

• (1947) Portrait of H.M. University of Iowa Museum of Art,[53] currently housed at the Figge Art Museum[44]

• (1947) Full Fathom Five Museum of Modern Art[54]

• (1947) Cathedral Dallas Museum of Art[55]

• (1947) Enchanted Forest Peggy Guggenheim Collection[56]

• (1947) Lucifer San Francisco Museum of Modern Art[57]

• (1948) Painting[58]

• (1948) Number 5 (4 ft x 8 ft) Private collection• (1948) Number 8- At Neuburger Museum at the State University of New York at Purchase.• (1948) Composition (White, Black, Blue and Red on White) New Orleans Museum of Art[59]

• (1948) Summertime: Number 9A Tate Modern• (1949) Number 1 Museum of Contemporary Art, Los Angeles[60]

• (1949) Number 3• (1949) Number 10 Museum of Fine Arts, Boston[61]

• (1950) Number 1, 1950 (Lavender Mist) National Gallery of Art[62]

• (1950) Mural on indian red ground, 1950 Tehran Museum of Contemporary Art[63]

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• (1950) Autumn Rhythm (Number 30), 1950 Metropolitan Museum of Art[64]

• (1950) Number 29, 1950 National Gallery of Canada[65]

• (1950) One: Number 31, 1950 Museum of Modern Art[66]

• (1950) No. 32[67]

• (1951) Number 7 National Gallery of Art[68]

• (1951) Black & White• (1952) Convergence Albright-Knox Art Gallery[69]

• (1952) Blue Poles: No. 11, 1952 National Gallery of Australia[70]

• (1953) Portrait and a Dream Dallas Museum of Art[71]

• (1953) Easter and the Totem The Museum of Modern Art[72]

• (1953) Ocean Greyness[73]

• (1953) The Deep

InfluencePollock's staining into raw canvas was adapted by Color Field painters Helen Frankenthaler and Morris Louis. FrankStella made allover composition a hallmark of his works of the 1960s. Happenings artist Allan Kaprow, sculptorsRichard Serra, Eva Hesse and many contemporary artists have retained Pollock’s emphasis on the process of creationand were influenced by his approach to making art; rather than by the look of his work. [74]

Notes[1] Pepe Karmel, Kirk Varnedoe, Jackson Pollock, interviews, articles, and reviews (http:/ / books. google. com/ books?id=vNoX4iTHPs0C&

pg=PA151& lpg=PA151& dq=pollock+ influenced+ by+ picasso& source=bl& ots=GZTrtIiOrV&sig=o7QSZ3waIxaYoZoUNrePVEzz5Ho& hl=en& ei=V18bTeObEMGB8gaulOTsDQ& sa=X& oi=book_result& ct=result& resnum=7&ved=0CD4Q6AEwBjgK#v=onepage& q=pollock influenced by picasso& f=false) Retrieved December 29, 2010

[2] CBS Sunday Morning (http:/ / www. cbsnews. com/ stories/ 2007/ 01/ 18/ sunday/ main2371451. shtml) Retrieved December 29, 2010[3] Leonhard Emmerling, Jackson Pollock 1912-1956 (http:/ / books. google. com/ books?id=IF2P-sLngmsC& pg=PA48& lpg=PA48&

dq=pollock+ influenced+ by+ picasso& source=bl& ots=RQ7BWbnnaX& sig=TAzIGl5sydHmuAfKxCDzHfeOexw& hl=en&ei=V14bTcELwvjwBoLwiLoO& sa=X& oi=book_result& ct=result& resnum=1& ved=0CBgQ6AEwADgK#v=onepage& q=pollockinfluenced by picasso& f=false) Retrieved December 29, 2010

[4] Naifeh, Steven and Smith, Gregory White, Jackson Pollock:an American saga, p.503, Published by Clarkson N. Potter, Inc.1989, ISBN0-517-56084-4

[5] Varnedoe, Kirk and Karmel, Pepe, Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog, New York: The Museum ofModern Art, Chronology pp. 315–329, 1998, ISBN 0-87070-069-3.

[6] Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p460-461.[7] B. H. Friedman, Jackson Pollock: Energy Made Visible, p.4. Da Capo Press, 1995, ISBN 0-306-80664-9[8] Robert Sickels, The 1940s, p.223. Greenwood Publishing Group, 2004, ISBN 0-313-31299-0[9] "Jackson Pollock" (http:/ / www. beatmuseum. org/ pollock/ jacksonpollock. html). The American Museum of Beat Art. . Retrieved

2007-09-28.[10] Abstract Expressionism, Jackson Pollock's "Psychoanalytic Drawings" Paintings" (http:/ / serdar-hizli-art. com/ abstract_art/

jackson_pollock_psychoanalytic_drawings. htm) Retrieved July 24, 2010[11] Stockstad, Marilyn (2005). Art History. Upper Saddle River, New Jersey: Pearson Education, Inc.. ISBN 0131455273.[12] Rothenberg, A. (2001). "Bipolar illness, creativity, and treatment". The Psychiatric quarterly 72 (2): 131–147.

doi:10.1023/A:1010367525951. PMID 11433879.[13] Boddy-Evans, Marion. "What Paint Did Pollock Use?" (http:/ / painting. about. com/ od/ colourtheory/ a/ Pollock_paint. htm). about.com. .

Retrieved 2007-09-28.[14] http:/ / www. hollistaggart. com/ artists/ biography/ janet_sobel/[15] http:/ / bigthink. com/ ideas/ 18624[16] Jackson Pollock: interviews, articles, and reviews By Pepe Karmel, Kirk Varnedoe (http:/ / books. google. com/

books?id=vNoX4iTHPs0C& pg=PA273& dq=Janet+ Sobel+ Pollock& hl=en& ei=5SLkTOy2OYKBlAf1v5nHDg& sa=X& oi=book_result&ct=result& resnum=4& ved=0CDwQ6AEwAw#v=onepage& q=unmistakably made an impact on Pollock& f=false)

[17] "The Wild Ones" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,808194-2,00. html). Time (magazine). 1956-02-20. . Retrieved2008-09-15.

Jackson Pollock 8

[18] http:/ / books. google. com/ books?id=MMYHuvhWBH4C& lpg=PT969& ots=q7FP_5pjVS&dq=My%20painting%20does%20not%20come%20from%20the%20easel. %20I%20prefer%20to%20tack%20the%20unstretched%20can&pg=PT969#v=onepage& q=My%20painting%20does%20not%20come%20from%20the%20easel.%20I%20prefer%20to%20tack%20the%20unstretched%20can& f=false

[19] Pollock or Not? Can Fractals Spot a Fake Masterpiece? (http:/ / www. sciam. com/ article. cfm?id=can-fractals-spot-genuine), by JR Minkelfor Scientific American, October 31, 2007. Retrieved January 29, 2009.

[20] Taylor, Richard; Micolich, Adam P.; Jonas, David. "Can Science Be Used To Further Our Understanding Of Art?" (http:/ / www. phys.unsw. edu. au/ phys_about/ PHYSICS!/ FRACTAL_EXPRESSIONISM/ fractal_taylor. html). . Retrieved 2008-09-15

[21] Ouellette, Jennifer (2001-11-01). "Physicist Richard Taylor's study" (http:/ / discovermagazine. com/ 2001/ nov/ featpollock). Discovermagazine. . Retrieved January 28, 2009.

[22] Jerry Saltz. "The Tempest" (http:/ / www. artnet. com/ magazineus/ features/ saltz/ saltz9-18-06. asp) (reprint). Artnet.com. . Retrieved2009-08-30.

[23] "Biography" (http:/ / www. jackson-pollock. com/ biography. html). Jackson-pollock.com. . Retrieved 2007-09-28.[24] Downfall of Pollock (http:/ / www. jackson-pollock. com/ downfall. html). Retrieved July 23, 2010.[25] Abstract Expressionism in 1955 (http:/ / www. warholstars. org/ abstractexpressionism/ timeline/ abstractexpressionism55. html). Retrieved

August 28, 2009.[26] Varnedoe, Kirk and Karmel, Pepe, Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog, New York: The Museum of

Modern Art, Chronology, p.328, 1998, ISBN 0-87070-069-3[27] "The Pollock-Krasner Foundation website: Press Release page" (http:/ / www. pkf. org/ press. html). Pkf.org. . Retrieved 2009-08-30.[28] "Most frequently requested artists list of the Artists Rights Society" (http:/ / arsny. com/ requested. html). Arsny.com. . Retrieved

2009-08-30.[29] "Our Poles world's top-priced painting?" (http:/ / canberra. yourguide. com. au/ detail. asp?class=news& subclass=general&

story_id=528424& category=General& m=11& y=2006). The Canberra Times. November 4, 2006. .[30] Squire, John (May 13, 2004). "Pollock, paint and me" (http:/ / www. guardian. co. uk/ music/ 2004/ may/ 13/ stone-roses-john-squire-art).

The Guardian (London). . Retrieved 2010-05-05.[31] Schreyach, Michael (2007-08-01). "I am nature" (http:/ / apollo-magazine. co. uk/ features/ 71129/ i-am-nature. thtml). Apollo. . Retrieved

2009-06-02. "An attempt has been made to determine the authenticity of some newly discovered paintings that may be by Jackson Pollock onthe basis of a belief that his art incorporates fractal patterns seen in the natural world"

[32] Kennedy, Randy (December 2, 2006). "The Case of Pollock’s Fractals Focuses on Physics" (http:/ / www. nytimes. com/ 2006/ 12/ 02/books/ 02frac. html?ex=1322715600& en=088aba6319b31d32& ei=5088& partner=rssnyt& emc=rss). New York Times. . Retrieved2009-08-30.

[33] McGuigan, Cathleen (August 20–27, 2007). "Seeing Is Believing? Is this a real Jackson Pollock? A mysterious trove of pictures rocks theart world" (http:/ / www. msnbc. msn. com/ id/ 20216976/ site/ newsweek/ ). Newsweek. . Retrieved 2009-08-30.

[34] Smithsonian Magazine, Decoding Jackson Pollock (http:/ / www. smithsonianmag. com/ arts-culture/ Decoding-Jackson-Pollock.html?utm_source=dedicated09252009& utm_medium=email& utm_campaign=JacksonPollock)

[35] Jackson Pollock, "My Painting", in Pollock: Painting (edited by Barbara Rose), Agrinde Publications Ltd: New York (1980), page 65;originally published in Possibilities I, New York, Winter 1947-8

[36] "If It’s So Easy, Why Don’t You Try It" (http:/ / www. nytimes. com/ 2010/ 12/ 05/ nyregion/ 05spotli. html), Steven McElroy, New YorkTimes, December 3, 2010

[37] "Expression of an age" (http:/ / pubs. socialistreviewindex. org. uk/ sr229/ molyneux. htm). Pubs.socialistreviewindex.org.uk. . Retrieved2009-08-30.

[38] Saunders, F. S. (2000), The Cultural Cold War. The CIA and the World of Arts and Letters, New York: Free Press.[39] Eva Cockcroft, ‘Abstract Expressionism, Weapon of the Cold War’ in Artforum vol.12, no.10, June 1974, pp. 43–54.[40] Rockwell, Norman (http:/ / www. artchive. com/ artchive/ R/ rockwell/ rockwell_connoisseur. jpg. html) the Artchive[41] "Male and Female" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. male-female. jpg) (jpeg). www.ibiblio.org. .[42] "Stenographic Figure" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. stenographic. jpg) (jpeg). www.ibiblio.org. .[43] "UIMA: Mural" (http:/ / digital. lib. uiowa. edu/ u?/ uima,22871). Uiowa.edu. . Retrieved 2009-08-30.[44] Posted by University of Iowa Museum of Art (2009-03-24). "Art Matters: UIMA moves first paintings into the Figge Art Museum" (http:/ /

uima. blogspot. com/ 2009/ 03/ uima-moves-first-paintings-into-figge. html). Uima.blogspot.com. . Retrieved 2009-08-30.[45] "Moon-Woman Cuts the Circle" (http:/ / www. beatmuseum. org/ pollock/ images/ moon. jpg) (jpeg). www.beatmuseum.org. .[46] "The She-Wolf" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. she-wolf. jpg) (jpeg). www.ibiblio.org. .[47] "Blue (Moby Dick)" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. moby-dick. jpg) (jpeg). www.ibiblio.org. .[48] "Troubled Queen" (http:/ / www. mfa. org/ collections/ search_art. asp?recview=true& id=34645& coll_keywords=Pollock&

coll_accession=& coll_name=& coll_artist=& coll_place=& coll_medium=& coll_culture=& coll_classification=& coll_credit=&coll_provenance=& coll_location=& coll_has_images=& coll_on_view=& coll_sort=1& coll_sort_order=1& coll_view=0&coll_package=0& coll_start=1). www.mfa.org. .

[49] "Eyes in the Heat" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. eyes-heat. jpg) (jpeg). www.ibiblio.org. .[50] "The Key" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. key. jpg) (jpeg). www.ibiblio.org. .[51] "The Tea Cup" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. tea-cup. jpg) (jpeg). www.ibiblio.org. .

Jackson Pollock 9

[52] "Shimmering Substance" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. shimmering. jpg) (jpeg). www.ibiblio.org. .[53] "Portrait of H.M." (http:/ / digital. lib. uiowa. edu/ u?/ uima,18698). digital.lib.uiowa.edu. .[54] "Full Fathom Five" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ fathom-five/ pollock. fathom-five. jpg) (jpeg). www.ibiblio.org. .[55] "Jackson Pollock - Painting - Cathedral" (http:/ / www. beatmuseum. org/ pollock/ cathedral. html). Beatmuseum.org. . Retrieved

2009-08-30.[56] "Enchanted Forest" (http:/ / www. guggenheimcollection. org/ images/ lists/ work/ 129_4_lg. jpg) (jpeg). www.guggenheimcollection.org. .[57] "Jackson Pollock's Lucifer" (http:/ / www. sfmoma. org/ multimedia/ interactive_features/ 61#). SFMOMA. . Retrieved 2009-08-30.[58] "Painting" (http:/ / www. centrepompidou. fr/ images/ oeuvres/ XL/ 3I01535. jpg) (jpeg). www.centrepompidou.fr. .[59] "New Orleans Museum of Art Educational Guide" (http:/ / www. noma. org/ educationguides/ Pollock. pdf). www.noma.org. .[60] "Number 1" (http:/ / www. moca. org/ museum/ pc_artwork_detail. php?& acsnum=89. 23& keywords=No. 1, 1949& x=27& y=3).

www.moca.org. .[61] "Number 10" (http:/ / www. mfa. org/ collections/ search_art. asp?recview=true& id=34114& coll_keywords=Pollock& coll_accession=&

coll_name=& coll_artist=& coll_place=& coll_medium=& coll_culture=& coll_classification=& coll_credit=& coll_provenance=&coll_location=& coll_has_images=& coll_on_view=& coll_sort=1& coll_sort_order=1& coll_view=0& coll_package=0& coll_start=1).www.mfa.org. .

[62] "Number 1, 1950 (Lavender Mist)" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ lavender-mist/ pollock. lavender-mist. jpg) (jpeg).www.ibiblio.org. .

[63] "Mural on indian red ground, 1950" (http:/ / www. artcyclopedia. com/ masterscans/ l164. html). . .[64] "Autumn Rhythm (Number 30)" (http:/ / www. metmuseum. org/ Works_of_Art/ viewOne. asp?dep=21& viewmode=0& item=57. 92). The

Metropolitan Museum of Art, New York. . Retrieved 2009-08-30.[65] "Artist Page: Jackson Pollock" (http:/ / cybermuse. gallery. ca/ cybermuse/ search/ artist_e. jsp?iartistid=4391). Cybermuse.gallery.ca. .

Retrieved 2009-08-30.[66] "One: Number 31, 1950" (http:/ / www. moma. org/ collection/ browse_results. php?object_id=78386). MoMA. . Retrieved 2009-08-30.[67] "Jackson Pollock - Kunstsammlung NRW" (http:/ / www. kunstsammlung. de/ index. php?id=179& L=1). Kunstsammlung.de. 2006-02-17. .

Retrieved 2009-08-30.[68] "Number 7, 1951 - Image" (http:/ / www. nga. gov/ cgi-bin/ pimage?62343+ 0+ 0). Nga.gov. . Retrieved 2009-08-30.[69] "Convergence" (http:/ / www. albrightknox. org/ ArtStart/ art/ K1956_7. jpg). www.albrightknox.org. .[70] "Blue poles" (http:/ / nga. gov. au/ International/ Catalogue/ Detail. cfm?IRN=36334& ViewID=2& GalID=1). Nga.gov.au. . Retrieved

2009-08-30.[71] Jones, Jonathan (2003-07-05). "Portrait and a Dream" (http:/ / arts. guardian. co. uk/ portrait/ story/ 0,,991689,00. html). London: The

Guardian. . Retrieved 2009-08-30.[72] "Easter and the Totem" (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ pollock. easter-totem. jpg) (jpeg). www.ibiblio.org. .[73] "Ocean Greyness" (http:/ / www. artbarreiro. com/ artistas/ pollock/ photos/ oceanGreyness. jpg) (jpeg). www.artbarreiro.com. .[74] "Jackson Pollock's Unique Style" (http:/ / www. jackson-pollock. com/ uniquestyle. html). .

References• Herskovic, Marika, American Abstract and Figurative Expressionism Style Is Timely Art Is Timeless An

Illustrated Survey With Artists' Statements, Artwork and Biographies. (http:/ / www. worldcat. org/search?qt=worldcat_org_bks& q=9780967799421& fq=dt:bks) (New York School Press, 2009.) ISBN978-0-9677994-2-1. p. 127; p. 196-199

• Herskovic, Marika. American Abstract Expressionism of the 1950s An Illustrated Survey, (http:/ / www.worldcatlibraries. org/ oclc/ 50253062& tab=holdings) (New York School Press, 2003.) ISBN 0-9677994-1-4.pp. 262–265

• Herskovic, Marika. New York School Abstract Expressionists Artists Choice by Artists, (http:/ / www.worldcatlibraries. org/ oclc/ 50666793& tab=holdings) (New York School Press, 2000.) ISBN 0-9677994-0-6.p. 18; p. 38; pp. 278–281

• Karmel, Pepe, (Ed),Jackson Pollock: Key Interviews, Articles and Reviews Museum of Modern Art, Pepe Karmel,and Kirk Varnedoe (Editors), Publisher: Abrams,Harry N Inc., ISBN 0-87070-037-5, 1999.

• Varnedoe, Kirk and Karmel, Pepe, Jackson Pollock: Essays, Chronology, and Bibliography. Exhibition catalog,New York: The Museum of Modern Art, 1998, ISBN 0-87070-069-3.

• O'Connor, Francis V. Jackson Pollock [exhibition catalogue] (New York, Museum of Modern Art, [1967]) OCLC165852

• Taylor, Richard; Micolich, Adam; Jonas, David: Fractal Expressionism, Physics World, October 1999

Jackson Pollock 10

• Naifeh, Steven and Smith, Gregory White, Jackson Pollock:an American saga, Published by Clarkson N. Potter,Inc.1989, ISBN 0-517-56084-4

• http:/ / www. jackson-pollock. com/ didyouknow. html• http:/ / www. nytimes. com/ 2002/ 02/ 15/ arts/ art-in-review-janet-sobel. html?pagewanted=1 ART IN REVIEW

By Roberta Smith The New York Times — PDF available for download)

External links• Pollock-Krasner House and Study Center (http:/ / stonybrook. edu/ pkhouse)• Pollock-Krasner Foundation (http:/ / www. pkf. org)• Jackson Pollock (http:/ / www. moma. org/ collection/ artist. php?artist_id=4675) at the Museum of Modern Art• Pollock collection at Guggenheim NY site (http:/ / www. guggenheimcollection. org/ site/ artist_works_129_0.

html)• Jackson Pollock at The Art Story Foundation (http:/ / www. theartstory. org/ artist-pollock-jackson. htm)• Pollock on Museum Web Paris (http:/ / www. ibiblio. org/ wm/ paint/ auth/ pollock/ )• Pollock and The Law (http:/ / www. lawforart. com/ pollock. html)• National Gallery of Art web feature, includes highlights of Pollock's career, numerous examples of his work,

photographs and motion footage of Pollock, plus an in-depth discussion of his 1950 painting Lavender Mist.(http:/ / www. nga. gov/ feature/ pollock/ index. htm)

• Blue Poles (http:/ / www. nga. gov. au/ International/ Catalogue/ Detail. cfm?IRN=36334& MnuID=2& GalID=1)at the NGA

• One. Number 31, 1950 (http:/ / smarthistory. org/ blog/ 55/ jackson-pollock-one-number-31-1950-1950-moma/ )smARThistory

• Jackson Pollock's Number One 1948; How Can We Be Abandoned and Accurate at the Same Time? by LoreMariano (http:/ / www. terraingallery. org/ Pollock_LS. htm)

• Fractal Expressionism (http:/ / materialscience. uoregon. edu/ taylor/ art/ info. html#Recent_Publications) – thefractal qualities of Pollock's drip paintings.

• Understanding Abstract Art (http:/ / www. harley. com/ art/ abstract-art/ ) by Harley Hahn• Ed Pilkington, Pollock cache may have been painted after artist's death, The Guardian, November 30, 2007

(http:/ / arts. guardian. co. uk/ art/ news/ story/ 0,,2219685,00. html)• Jackson Pollock Papers at the Smithsonian's Archives of American Art (http:/ / www. aaa. si. edu/ collections/

findingaids/ polljack. htm)• Works by Jackson Pollock (public domain in Canada)

Museums• Jackson Pollock (http:/ / www. moma. org/ collection/ artist. php?artist_id=4675) at the Museum of Modern Art• Pollock collection at Guggenheim NY site (http:/ / www. guggenheimcollection. org/ site/ artist_works_129_0.

html)• Los Angeles County Museum of Art (LACMA), Los Angeles, California (http:/ / collectionsonline. lacma. org/

mwebcgi/ mweb. exe?request=link;dtype=d;key=110390;page=701900101)• Museum of Contemporary Art (MoCA), Los Angeles, California (http:/ / www. moca. org/ museum/

pc_search_results. php?keywords=jackson+ pollock)

Article Sources and Contributors 11

Article Sources and ContributorsJackson Pollock  Source: http://en.wikipedia.org/w/index.php?oldid=426091033  Contributors: 1717, 21655, 2D, 5dots, 893, A Sunshade Lust, ABF, AKGhetto, ARUNKUMAR P.R,Aballardini, Abdullais4u, Acroterion, AdjustShift, Adrian 1001, Adrigon, Aeirom1, Agnte, Aiobhan, Aitias, Alansohn, Ale jrb, Alexius08, Allstarecho, Alsandro, Amatulic, Amazins490,Americasroof, Anamalenca, Anastrophe, Anaxial, Andonic, Andreas.Persson, Andreasegde, Andrewrp, Andycjp, Anna Lincoln, AnnaFrance, Antandrus, Antonio Lopez, Arcadian, Arjun01,Artdealer1935, Artintegrated, Ashmoo, Asmz, Atif.t2, Avnjay, BD2412, BRAC, Bachrach44, Banpei, BarabasKid, Baxterx x, Bdve, Beek man, Beeshoney, Ben Ben, Benjamin22b, Benson85,Beorhtric, Betterusername, Bfigura's puppy, Bhadani, Big Bird, Bigfoot00, Bigturtle, BillC, Biruitorul, Black-the-person, Blackmetalbaz, Blanchardb, Bloodly32, BlueBear59, Bluerasberry,Bobo192, Bodnotbod, Brianboru, Bsherr, Bubba hotep, Bus stop, Butko, Cacophony, Calabraxthis, Calliopejen1, Calstanhope, Camembert, Camilo Sanchez, Camw, CanadianLinuxUser,Capricorn42, Carlosguitar, Catgut, Cbernasc, Cdc, Champlax, Chenzw, Chinju, Cholmes75, Chowbok, Chris the speller, Chrislk02, Chronulator, Chuck4dd, Chun-hian, Chunky Rice, Chzz,Ciceronl, Ck lostsword, Claeb123, Closedmouth, Cloudedsun, Cmdrjameson, Cocapiggies, Cocoaguy, Coemgenus, Colby Farrington, CommonsDelinker, Confiteordeo, Connormah, ContiAWB,Conversion script, Cool Blue, Corpx, Cosmic Latte, CosmicPenguin, Courcelles, Cquan, Crazyale, Czrisher, D, D6, DARTH SIDIOUS 2, DVD R W, DVdm, Da monster under your bed,Dadrados, Dadude3320, DanTD, Danny, Danreitz, Darkspots, David Edgar, David Gale, Davidlark, Dblah, Debresser, Deltabeignet, Dendlai, Deor, DerHexer, Detlefinio, Dillard421,Discospinster, Djaffe, Dmadeo, Dna4, Doodledoo, Doulos Christos, Dreaded Walrus, Dreadstar, Drszucker, Dugwiki, Duncanssmith, Dycedarg, Dynesclan, Dysepsion, Dysprosia, E. Fokker,E2eamon, EamonnPKeane, Ebyabe, Ecm277, Edward, Edwy, Ekrub-ntyh, El C, Emanuel345, Emanuelrecess, Emem790, Emeraldcityserendipity, Emurphy42, Epbr123, Er a wikipiki wiki wum,Ericdn, ErinHowarth, Etacar11, EthanLeon, EvanProdromou, Everyking, Ewulp, Excirial, Fabrictramp, FactoidCow, Fagoogle23, Failtrainhardcore, Faradayplank, FayssalF, Fengshuilife,Fieldday-sunday, FlowRate, Formeruser-81, Fox, Fram, Frankiebaby96, Franky Smallsack, Freshacconci, Friedfish, Fukutake 12, Fæ, GODLYMAN94, Galoubet, Gargaj, Gary King, Gatfish,Gearwig, Geeye, George2001hi, George415, Gerardbeirne, Giftlite, Gilliam, Gjs238, GlassCobra, Gogo Dodo, Golbez, Gomek, Gonk, Graham87, GreatInDayton, Greatgavini, Gregbard,GregorB, Guoguo12, Gurch, HalfShadow, Harro5, Harryjjj, Hasek is the best, Hawaiian717, Helenharrison, Hermzz, Heslopian, Heymid, Hmwith, HoodedMan, Howrealisreal, Howwy23456789,I dream of horses, Iachimo, Icarus of old, Ichthus05, Impaciente, Indubitabletc, Infrogmation, Into The Fray, Iridescent, Irishguy, Island, IstvanWolf, IvanLanin, Ixfd64, J Milburn, J.delanoy,JD554, JFreeman, JNW, JPLei, JaGa, Jack Cox, Jagdfeld, Jake Wartenberg, Jaraalbe, Jareha, Jdsrowland, JeffreyN, JenAW, Jengod, JesseGarrett, Jim, Jleon, Jmaldonado, Jmrowland, Joedeshon,John, JohnnE, Johnsorc, Jojhutton, Jojit fb, Jonabbey, Jonathan.s.kt, Jossi, Jost Riedel, Jpk, Jsondow, Jtascarella, Juliancolton, Jw 193, Jwoodger, KClick91, KD Tries Again, Kalathalan, Kaldari,Kanonkas, Kaveh, Kazikame, Keepscases, Kershner, Kevin, Kevinalewis, Khoikhoi, Kingpin13, Kiwidude, Konczewski, Krashlandon, Ktr101, Kumioko, KuroiShiroi, Kvastag, Kyle1278,Kzollman, LAgurl, LOL, La Pianista, LaszloWalrus, Latics, Lauracherub, Lauren, Lcarscad, Leafman13, Leafs252, Lenkowsky, Liftarn, Lights, Ligulem, Lithoderm, Lmschwan, Lockley,Lollypeterson, Look2See1, Lupo, MER-C, MK8, Maltmomma, Mandarax, Manuel Trujillo Berges, Marcusmax, Mareino, Martin451, MarylandArtLover, Matthuxtable, Mav, McYel, Mcdanielm,Mczack26, Mdfst13, Meaningful Username, Mentifisto, Merchbow, Merry Lighthouse Keeper, Mettimeline, Mhjohns, Michael David, Mike R, Mike t 678, MindscapesGraphicDesign, Ministryof random walks, Miss Madeline, Mitchell k dwyer, Mocko13, Modernist, Moe Aboulkheir, Mousy, MrDarcy, Mtmelendez, Muse ed, Mwanner, NERIC-Security, NEnochs, Nakon, Naniwako,Natalie Erin, NawlinWiki, Necronudist, Neurolysis, Neverquick, NewEnglandYankee, Newtaste, Next-Genn-Gamer, Nikolatosic, Nishantjr, Niteowlneils, Nixeagle, Nlu, Nonfaridere, Nsaa, Nyp,Nyttend, ONEder Boy, Ohthelameness, Olivier, Oscar O Oscar, Ozguroot, Pacokorn77, Pascal.Tesson, Patriarch, Paul Erik, Paul kuiper NL, Peashy, Peecee1978, Peepeedia, Pekaje, Pepper, PeterNapkin Dance Party, Peter morrell, Pethan, Petropoxy (Lithoderm Proxy), Pfranson, Philip Cross, Philip Trueman, Phoenix-wiki, Phonemonkey, Piersmasterson, Pilotguy, Plasticspork,Plastikspork, Pointer1, Pollock1234, Portillo, Possum, Prari, Prashanthns, Prosfilaes, Psychotic Spoon, Pubertyhair, Puffin, Quantumobserver, Quercus basaseachicensis, Rachel1, RadioFan,Raelx, Rahulkamath, Rajah, Randhirreddy, Raven in Orbit, Ravichandar84, Rdsmith4, Reach Out to the Truth, RedHouse18, Rei, RetiredUser124642196, RexNL, Riana, Richfife, Ricki's 2 cool 4u, Rifleman jay, Rjfost, Rjwilmsi, Robertkeller, RodC, Rodeosmurf, Ronhjones, Rosiestep, Roster67, Rotational, Rrburke, Ruby.red.roses, RuthieK, SSlings, Salmon1, Salvio giuliano, Sam Korn,Samuel, Savidan, Sbeath, Scarian, Scientizzle, Sciurinæ, Scjessey, Screaminsista, Seanmilloy, Seba5618, Sehiary, Seraphimblade, Shamrox, Shapinsky, Sharonlees, Shathorndon, Shawn inMontreal, Shcallahan, Shimgray, Shizane, Shlomke, Shoeofdeath, Silivrenion, SimonP, Sir Richardson, Skyring, Slowmover, Sluzzelin, SmileToday, Smilesfozwood, Snigbrook, Snowolf,SoSaysChappy, SoWhy, Soane, Soliloquial, Solipsist, Someguy1221, SpK, Space Often, Sparkit, Spebudmak, Spencer, Spiderbum, SpikeToronto, Spikedude44, Spinster, Spoulsen, Stephen,Stepshep, Stevage, SteveJC, Storkk, Sturm009, SunCreator, SuperHamster, Synchronism, T5593, Tb81, Tevi, ThaddeusB, Thatcher88, The Rambling Man, The Thing That Should Not Be,ThePaper, TheRedPenOfDoom, TheTrojanHought, Theda, Thehappysmith, Thejaggedtimes, Tholly, Thumperward, Thw1309, Tide rolls, Timan123, Timwi, Tohd8BohaithuGh1, Tom Duff,Tomaxer, Tomchacks, Tommy2010, Tony1, Trouver, Trusilver, Tsbshb, Tsumetai, Twirling, Tyrenius, UBU07, UILib, Ugha, Ulric1313, Unixfanatic, Usingha, Utcursch, UtherSRG, Uwaisis,Veinor, Vicenarian, Violaplayer26, Vipinhari, Vizspring, Voyagerfan5761, Vrenator, Wahkeenah, Wayne Slam, WelshMatt, Wickethewok, Wikianon, Wikieditor06, WikipedianMarlith,Willking1979, Wipe, Wizardman, Wknight94, Wocdocdingo, Wolfdog, WolfgangFaber, Work permit, Wpearl, Wpktsfs, Wysprgr2005, X!, XJamRastafire, Xanderall, Xcentaur, Yann, Ydorb,Yuckfoo, Zeamays, Zeimusu, Zoso77, 1726 anonymous edits

Image Sources, Licenses and ContributorsFile:Namuth - Pollock.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Namuth_-_Pollock.jpg  License: unknown  Contributors: Mdd, Modernist, WickethewokImage:No. 5, 1948.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:No._5,_1948.jpg  License: unknown  Contributors: Diannaa, Ethicoaestheticist, Gilliam, J Milburn, Mareino,Mechamind90, Modernist, Reguiieee, Rettetast, Rizalninoynapoleon, The Master of Mayhem, Tree Biting Conspiracy, Tyrenius, 15 anonymous editsImage:Pollock-barn.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pollock-barn.jpg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: User:DmadeoImage:Pollock-green.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pollock-green.jpg  License: Creative Commons Attribution-Sharealike 2.5  Contributors: AmericasroofImage:Lavender Mist.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Lavender_Mist.jpg  License: unknown  Contributors: Unixfanatic, 1 anonymous edits

LicenseCreative Commons Attribution-Share Alike 3.0 Unportedhttp:/ / creativecommons. org/ licenses/ by-sa/ 3. 0/