For Pollock, the expression of his style was directed by "some type of mysterious, psychic force which seemed to take control of his hands and feet" 12 which may explain why some people have viewed his paintings as being accidental in nature, meaning that Pollock applied the paint without any sense of pattern or structure. This view is patently wrong, for after studying any of Pollock's paintings, it becomes clear that he did indeed possess a "madness to his method" when painting. As .H. Friedman points out, "There is something of the mystical in Pollock's materials which motivates not only the painter but also the viewer. Perhaps it is the random fall and scatter of the paint which best express the sum of the work's overall artistic qualities." 13 number of Pollock's best works are not small in scale, for they are entire pieces of canvas stretching at times more…...

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Bibliography

Cernuschi, Claude. Jackson Pollock: Meaning and Significance. New York: Westview Press,

Friedman, B.H. Jackson Pollock: Energy Made Visible. New York: McGraw-Hill Book

Company, 1972.

Landau, Ellen. Jackson Pollock. New York: Harry N. Abrams, Inc., 1998.

"When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of "get acquainted" period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through." (Jackson Pollock)
Using this method he produced beautiful canvases with interlocking and interlaced colors which were completely abstract, such as Full Fathom Five and Lucifer which were both painted in 1947. There were developments and enhancements in his technique of painting and later he would create a style which was characterized by a crisscrossing of lines in black and whites and muted colors. An example of his later style is the painting Ocean Grayness (1953.

The renowned critic of modernism and art Herbert Read, stated that the originality of Pollock's work could be…...

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Bibliography

Chipp, H.B. Theories of Modern Art. University of California Press. London. 1968.

Jackson Pollock. February 25, 2005. http://www.constable.net/arthistory/glo-pollock.html

Jackson Pollock: Abstract Expressionist. February 24, 2005. http://www.jasonvoos.com/jpol.html

Jackson Pollack.1912-1956. February 24, 2005 http://www.connect.net/ron/pollack.html

Jackson Pollock observed, "The modern painter cannot express his age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or any other past culture. Each age finds its own technique." Choose three works of mid-twentieth century art that illustrate this idea and discuss them in detail. How does the technique of these particular works help convey the reality of the modern world?
Jackson Pollock was indeed correct when he expressed such a notion. The experiences, thoughts and ideas of the modern painter simply cannot be captured via the old forms of the Renaissance or some other antiquated culture or generation. Each generation does in fact find its own technique because its absolutely necessary to do so. There is no other way possible. One can examine three arbitrary works from nearly any decade and find this to be remarkably true, particularly perhaps in the mid-twentieth century art.

For…...

Convergence" by Jackson Pollock -- Jack the Dripper's masterpiece of technique and meaning
Although abstract impressionism often causes viewers to sneer that they too could do 'that,' in other words, abstractly scatter paint on a canvas, the deliberation of design and the ideas behind the 1952 work of "Convergence" by the mature Jackson Pollock suggests otherwise. hen one gazes at the massive canvas, something beyond mere painterly splattering is clearly 'going on' because of the artist's use of his considerable technical skills and his ideological agenda in creating this masterpiece of abstract expressionism.

First of all, the technical deliberation of the work is reflected in its title -- "Convergence." The chaos of the color deliberately fails to come together in a kind of overwhelming busyness, in a way that creates a sense of 'modern life' to the viewer's eye. Everything in the color splattering is chaotic and disconnected. Lines and splashes…...

Prime Minister
briefing " Should U.S. support European unification? "Dwight D. Elsenhower 1957

Since Jackson Pollock painted in a number of different styles and genres during his lifetime, it is with some difficulty that one can identify his aims and goals. During his career which began in earnest during the 1930's and spanned until his death in the 1960's, Pollock produced works that were indicative of cubism, surrealism, and abstract expressionism. However, it was his innovations in the Abstract Expressionist mode of paintings that enabled him to garner the most fame, and for which his name and works are still acclaimed today. As such, it would be accurate to state that the overall significance of Pollock's work lies in the fact that he was able to use them to express -- in approaches that were novel at the time -- virtually everything about a painter, including his conscious and unconscious mind.

Still,…...

Legacy of Jackson Pollock
The artist Jackson Pollock was renowned for using non-traditional methods to create very untraditional pieces of art. At the time that he was working and up to the modern historical moment, many people look at a piece by Pollock and do not see it as art. Instead, they may likely proclaim that it is just lines or random colors on a canvas and thus does not have the intrinsic meaning of more traditional pieces of artwork. Either one understood modern art and accepted it as a new and innovative type of art, or one was likely to deride anything in modernity as just a mess on canvas or whatever medium the artist chose to work in. Despite this perspective, Pollock and artist like him began a whole new artistic movement which is known as modernism. hat is considered to be modern art has been the source…...

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Works Cited:

Clark, T.J. "Clement Greenberg's Theory of Art." Critical Inquiry. 9. No. 1. (1982): 139-156.

Jachec, Nancy. "Modernism, Enlightenment Values, and Clement Greenberg." Oxford Art

Journal. 21. no. 2 (1998): 123-132.

Kaprow, Allan. "The Effect of Recent Art Upon the Teaching of Art." Art Journal. 23. No. 2.

On the work 'Convergence' by Jackson Pollock, the viewer can see that, in spite of the total abstract nature of the picture the artist displays the mastering of the technique and training necessary to create a painting. Pollock used contrasting colors to create optic vibrancy. This composition is made only of the three main colors of the spectrum and the use of black and white lines that create depth and space effect to the entire composition. The free lines that spread all over the support construct a texture of visual noise that leads the eye to the key points of the painting, the colored highlights and dark corners. The colored lines merging in every direction invite the viewer to search, in the apparent anarchy of the composition, a hidden drawing carrying the message that the artist wants to deliver.

ibliography

Jackson Pollock. Retrieved August 7, 2007, from: Albright-Knox Art Gallery Web Site:…...

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Bibliography

Jackson Pollock. Retrieved August 7, 2007, from: Albright-Knox Art Gallery Web Site:  http://www.albrightknox.org/ArtStart/lPollock.html 

2003). Jackson Pollock 1912-1956. Retrieved August 7, 2007, from: The American Museum of Beat Art Web site: http://www.beatmuseum.org/pollock/jacksonpollock.html

Realist Painting Style and Realism
The Realist style owes its existence to the Realist concept. "Realism is democracy in art," Courbet believed. (Nochlin, xiii) Taking that as the credo upon which the works of the artists were constructed, the style itself can be nothing if not anti-academic, anti-historical, anti-conservative. Indeed, whether brushstrokes or pen markings or etching into stone or metal form the image, the underlying attitude is one of freedom, attention to the gross characteristics of form, dismissal of mere decoration for its own sake, and obvious celebration of anything. The self-consciousness of the finely chosen brushstroke or marking is gone, in favor of a brushstroke or marking that favors expression of the interplay between what is seen and the seer. Gone is any demand from outside the artist to make things appear lovelier, grander, more stately than they perhaps really are. It is, in short, art with the warts…...

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Works Cited

Crook, Malcolm "French elections, 1789-1848." History Today, 1 March 1993.

Daumier, Honore. The Columbia Encyclopedia, 10 January 2004.

Dolan, Therese. Honore Daumier. (Review) The Art Bulletin. 1 March 1998.

Dorozynski, Alexander. "Audacity: 200 years of French innovation 1789-1989. (AMERICAN HERITAGE Magazine Special Report), Forbes, 24 July 1989.

The argument that I have been making is a twofold one. The first branch of this argument is that Pop Art, while it incorporates ordinary images and commercial motifs and tropes just as does commercial design, it does so in different ways and for different reasons than does purely commercial work. It is because the motivations of the Pop Artist (and I suppose we might say of the art objects themselves) are so different from the motivations of commercial designers that Pop Art must qualify as art. Rather than simply giving his audiences pretty pictures, arhol made them work to understand his creations -- and this seems to me to be a pretty good definition of what art is and what the artist does. And once this condition is met, it really does not matter how much (if any) money the artist makes from the work.

Yes, arhol ended up making…...

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Works Cited

Davies, Stephen. The Philosophy of Art. New York: Wiley-Black, 2006.

Madoff, Stephen Henry. Pop Art: A Critical History. Berkeley: U. Of California Press, 1997.

Sandler, Irving. Abstract Expressionism and the American Experience: A Reevaluation. New York: Hudson Hills Press, 2009.

Warhol, Andy. Andy Warhol: Art from Art. Berlin: Schellmann, 1994.

Coplans, John. Andy Warhol. England: The Curwen press, 1989

Kinsman, Jane, "Soup can mania." Artonview, no. 49 (2007): 38-9.
http://vnweb.hwwilsonweb.com/hww/results/resultssinglefulltext.jhtml;hwwil
sonid=HJWLOMQXHRMITQA3DIMCFF4ADUNGIIV0

Ratcliff, Carter. Andy Warhol. New York: Abbeville Press, 1983.

Revy, Louisiana. Andy Warhol and his world: Nykredit, 2000

Image Source

Image 1 :
http://www.rock-hill.k12.sc.us/schools/elem/odes/soupcan.jpg

Image 2 :
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n&start=18&um=1&tbnid=N8ZN8V12EzHM:&tbnh=108&tbnw=135&prev=/images%3Fq%3Da
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Image 3 :
http://images.google.com/imgres?imgurl=http://www.flickernail.com/.a/6a00d83
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Image 4 :
http://i278.photobucket.com/albums/kk83/arcadiarose/my%20signature/Andy-
Warhol-Elvis--1963--double-Elv.jpg...

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Bibliography

Bauer, Claudia. Andy Warhol. Nw York: Prestel, 2004.

Coplans, John. Andy Warhol. England: The Curwen press, 1989

Kinsman, Jane, "Soup can mania." Artonview, no. 49 (2007): 38-9.

 

sonid=HJWLOMQXHRMITQA3DIMCFF4ADUNGIIV0http://vnweb.hwwilsonweb.com/hww/results/resultssinglefulltext.jhtml;hwwil 

They experimented, they felt the need to invent, to innovate, to improvise and to foster new ways of expressions, new means, in order for them to go forward and to have something new and significant to say in art. They had to break with the conventions of the traditional art in order to do that.
y the mid twentieth century, New York became the center of the art world, as it managed to gather some of the most significant names in modern art at the time. The 9th Street Show from 1952 in New York, simply put New York on the map by gathering numerous names of the contemporary artists on both sides of the Atlantic, with a special accent on abstract expressionism. Thus, the paintings of artists like Clyfford Still, Willem de Kooning, Mark Rothko and Robert Motherwell, started to speak to the rest of the world at a…...

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By the mid twentieth century, New York became the center of the art world, as it managed to gather some of the most significant names in modern art at the time. The 9th Street Show from 1952 in New York, simply put New York on the map by gathering numerous names of the contemporary artists on both sides of the Atlantic, with a special accent on abstract expressionism. Thus, the paintings of artists like Clyfford Still, Willem de Kooning, Mark Rothko and Robert Motherwell, started to speak to the rest of the world at a scale comparable to the scale of their art works. They certainly made an impact, although most of the world did not know what to make out of them at first.

Another major name in the abstract expressionist movement is that of Arschile Gorky. His biography, like that of the rest of the American abstract expressionists at the middle of the twentieth century, became intrinsically related to his body of work. First, he experimented with mastering the more conventional art movement styles, such as expressionism and cubism, then he went on to a style that became entirely of his own.

Although the paintings of the abstract expressionists are unique as their individualities and life experiences were unique, they share one feature they break with conventions, adopting completely new ways of expression while admitting the

As they became confident in their new style, however, the artists followed a timeline to maturity. Part of that maturity included the method of painting, or gesture. Unlike classical artists, the abstract expressionists dripped paint on canvases, used nontraditional tools or no tools at all, and insisted that the finished product was an expression of the artist, or the artist's signature. The result of this type of painting was both original and striking. Another aspect of the movement's mature style included an understanding of the "expressive potential of color," using color to achieve the "sublime" and move out of the accepted understanding of memory and experience (Paul 2008).
Thus, Abstract expressionism combined feeling and emotion, unusual technique, and expressive colors with an abstract mode to make a lasting impression on the United States' art culture.

eferences

Paul, Stella. (2008). Abstract Expressionism. etrieved August 9, 2008, from the

Metropolitan Museum of Art Web Site:…...

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References

Paul, Stella. (2008). Abstract Expressionism. Retrieved August 9, 2008, from the

Metropolitan Museum of Art Web Site:  http://www.metmuseum.org/toah/hd/abex/hd_abex.htm

Adams, Henry. om and Jack: he Intertwined Lives of homas Hart Benton and Jackson Pollock. New York, NY: Bloomsbury Press, 2009. Print.
Jackson Pollock and homas Hart Benton both shared a love of art as well as an intense friendship that not only challenged but also changed American art. his book focuses on the portrait of such a friendship through displaying both the styles of the artists. In terms of relationship, Pollock studied under Benton as a student. In fact, Adams explains Pollock's only formal training came from Benton, thus becoming a sort of surrogate father to Pollock. Adam also covers some of the more odd facets of their lives such as Pollock's romantic love for Benton's wife. From there, Pollock branches away from Benton and achieves success as an artist. he personal drama Adams unfolds along with vivid description of the artwork allows for great insight into the lives of…...

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This book covers the life and story of artist, Thomas Hart Benton. It begins with description of his birth. Benton was born at the end of the 19th century in Missouri. The books goes on to explain Benton becoming the first artists to be featured on the cover of the famous magazine, Time as well as paying homage to him as the true original. The book explains of Benton's time in NY and even his time with Jackson Pollock.

Xroads.virginia.edu,. 'Thomas Hart Benton - Biography'. N.p., 2015. Web. 8 Mar. 2015.

This is a website featuring a quick and short biography on the artist, Thomas Hart Benton. The webpage mentions Hart gained fame in major cities such as Paris, Chicago, and New York. It states Benton, born in rural Neosho, Missouri, would go on to depict rural life subject matter such as Ku Klux Klan members, oppressed farmers, and big business, that all played negative parts in society at the time. The webpage also mentioned Benton's meeting with a fellow artist, Diego Rivera.

Mull over the relationship between art and popular culture since 1950. Focus your discussion on 3 or 4 artists.
The world of art has seen two distinct trends in recent decades since the mid-20th century. On one hand, high art has become less central to most people's lives. Other, more visceral forms of popular media have claimed the attention of the public in the incarnations of photography, film, and television. There is no longer a reliance upon visual representations such as sketching and painting to commemorate historical and personal occasions. But as a result of this divide between popular and high culture and the increasing significance of pop culture, high art has begun to adopt many themes and even the visual style of many popular works to justify its existence. As pop culture becomes part of every person's framework of reference, the elements of pop art have been co-opted and…...

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Works Cited

"Andy Warhol." The Art Story. Web. 17 Dec 2014.

"Barbara Kruger." The Art History Archive. Web. 17 Dec 2014.

Busche, Ernst A. "Roy Lichtenstein." Grove Art Online. Oxford University Press, 2009.

"Jackson Pollock: Early photos of the action painter at work." Time. Web. 17 Dec 2014.

New York Art
New York's Post II Art Scene

After orld ar II, so many parts of Europe were in ruin. Economies were shattered, new governments worked to gain mandates for their authority and the people of Europe's countless and once rich cultural centers struggled to establish new identities. And following more than a decade of fascism, genocide and territorial war, many of the intellectually and culturally elite talents had departed the content for a context more hospitable to freedom and creativity. Relative to what they found in the spread of fascism, the United States would prove itself not just as the newly dominant military and commercial power in the world but also art center of the world. ith devastation persistent throughout the great cities of Europe, New York emerged as the capital of the modern art world and so many of the innovations that would extend there from in the ensuing…...

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Works Cited:

Dayton Art Institute (DAI). (2010). Post World War II. Daytonartinstitute.org.

Rothko, M. (1944). Slow Swirl at the Edge of the Sea. Museum of Modern Art.

Vogel, C. (2006). A Pollock is Sold, Possibly for a Record Price. The New York Times.