“Out of the Web
“Bruised by negative reactions to his solo exhibition at Betty Parsons Gallery in winter 1950, Jackson Pollock (1912-1956) was intent on proving himself in 1951. When the weather warmed enough to start painting in his studio-shed he embarked on a series of large paintings – diluted black enamel on raw cotton duck. From May to September 1951 Pollock produced 28 paintings, which came to be called the Black Paintings. Some of these Black Paintings and associated work is now gathered on display in Liverpool (Jackson Pollock: Blind Spots, Tate Liverpool, closes 18 October).
“Pollock felt that to counter criticisms that his work was becoming decorative and insubstantial, he should use figurative elements and a single colour. The grand subjects of conflict, war, death and the nude must also have seemed suitably powerful as a riposte to the accusation of insubstantiality. Pollock was deeply attached to imagery of atavistic intensity. His admiration for Albert Pinkham Ryder and his studies of history painting under Thomas Hart Benton suggested an American artist could draw from a kitty of essential themes. His experience of drawing dreams as part of Jungian analysis showed that the deep wellspring of unconscious symbols was something he could use.
“All the time Pollock painted the Black Paintings, he had to struggle with the problem of representation as seen through the prism of critical debates of the era. How could an abstract artist prove he had skill and seriousness without resorting to conventional figuration?…”
Read the full article on Jackson Pollock, a review of the Prud’hon exhibition in London and a review of a new book on Max Beckmann only in the print version of THE JACKDAW no.123, Sept/Oct 2015, single issues and subscriptions available here: http://www.thejackdaw.co.uk/