Pollock: One: Number 31, 1950
By Charles Stuckey
In the late 1940s, Abstract Expressionist painter Jackson Pollock began experimenting with a new method of working that involved dripping, flinging, and pouring paint onto Masonite panels and unstretched canvases laid flat on the floor. This process engaged his entire body, and the resulting paintings are a direct index of the antic dancing energy he expended to create them. One: Number 31, 1950, among the handful of very large paintings Pollock produced by this method, is a virtuoso showcase of his mastery of materials and technique. Former museum curator Charles Stuckey offers an in-depth exploration of Pollock and this majestic painting, one of many groundbreaking works by the artist in MoMA's collection.
- The Museum of Modern Art, New York, 2013
- Softcover, 48 pages
- 7 x 9 inches
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By Charles Stuckey
In the late 1940s, Abstract Expressionist painter Jackson Pollock began experimenting with a new method of working that involved dripping, flinging, and pouring paint onto Masonite panels and unstretched canvases laid flat on the floor. This process engaged his entire body, and the resulting paintings are a direct index of the antic dancing energy he expended to create them. One: Number 31, 1950, among the handful of very large paintings Pollock produced by this method, is a virtuoso showcase of his mastery of materials and technique. Former museum curator Charles Stuckey offers an in-depth exploration of Pollock and this majestic painting, one of many groundbreaking works by the artist in MoMA's collection.
- The Museum of Modern Art, New York, 2013
- Softcover, 48 pages
- 7 x 9 inches
