Jackson Pollock (1912-1956)

Poured Black Shape I

细节

Jackson Pollock (1912-1956)
Poured Black Shape I
oil on canvas
13 x 16¼ in. (30.3 x 41.3 cm.)
Painted circa 1950

来源

Lee Krasner Pollock, Easthampton.
The Pollock-Krasner Foundation, New York.
American Contemporary Art Gallery, Munich.
Acquired from the above by the present owner, Germany.

出版

F. V. O'Connor and E. V. Thaw, eds., Jackson Pollock, A Catalogue Raisonné of Paintings, Drawings, and Other Works, New Haven and London, 1978, vol. 2, p. 112, no. 292 (illustrated).

展览

Munich, American Contemporary Art Gallery, Jackson Pollock, September 1993, p. 11 (illustrated in color).
Museum Pfalzgalerie Kaiserslautern, Painting of the American Abstract Expressionism, November 1997-January 1998, p. 43 (illustrated in color).
Museum Mathildenhöhe Darmstadt, Conrad Marca Relli and the Abstract Expressionism, March-April 2000, p. 27 (March-April 2000).
Museum Aargauer Kunsthaus, Painting as Memory-The Memory of Painting, August-November 2000, p. 214 (illustrated in color).

拍品专文

Created in 1950 and sandwiched between monumental canvases of One, Number 31 (CR 283) and Autumn Rhythm, Number 30 (CR 297), the present work shows Pollock's drip style of painting in a more intimate scale. By now, Pollock had taken full possession of the gestural, semi-automatic and fluid pouring technique that he utilized since 1943. In Poured Black Shape I (CR 292) one can detect multiple layers of imagery. For example, Pollock has poured large loops of paint in the central area, where its outlines still show even underneath the central black element placed against bright accents of the blue background and red and yellow winged shapes. Also present in the painting is a sense of corporeality established by the large passages of very thick white paint situated on the canvas. The black poured shape radiates outwards, as is the case of Pollock's drip method of painting, whereby his shapes expand pictorial space rather than contract it.

Fig. 1 Pollock painting on glass, film still, Hans Namuth, 1950