Are you over 18 and want to see adult content?
More Annotations
![A complete backup of theimpatientgardener.com](https://www.archivebay.com/archive5/images/3c7aa42d-3929-4635-847f-598eabce16df.png)
A complete backup of theimpatientgardener.com
Are you over 18 and want to see adult content?
![A complete backup of hunde-homepage.com](https://www.archivebay.com/archive5/images/4ee9496d-02ef-4655-92e5-38eba9d3824f.png)
A complete backup of hunde-homepage.com
Are you over 18 and want to see adult content?
![A complete backup of yamaha-motor.co.uk](https://www.archivebay.com/archive5/images/77c9fe93-a055-452f-b141-9cb5cf011dd6.png)
A complete backup of yamaha-motor.co.uk
Are you over 18 and want to see adult content?
Favourite Annotations
![A complete backup of www.infobae.com/america/entretenimiento/2020/02/12/la-anecdota-de-cuando-se-conocieron-y-el-relanzamiento-d](https://www.archivebay.com/archive2/51e70dee-0cb9-4f20-bdbe-0d0fa0dd2f11.png)
A complete backup of www.infobae.com/america/entretenimiento/2020/02/12/la-anecdota-de-cuando-se-conocieron-y-el-relanzamiento-d
Are you over 18 and want to see adult content?
![A complete backup of tvn24.pl/polska/premier-mateusz-morawiecki-o-zarobkach-pielegniarek-w-polsce-on-w-ogole-nie-zna-zycia-nie-r](https://www.archivebay.com/archive2/a562cb22-efeb-420c-b3f5-fa5965e650ec.png)
A complete backup of tvn24.pl/polska/premier-mateusz-morawiecki-o-zarobkach-pielegniarek-w-polsce-on-w-ogole-nie-zna-zycia-nie-r
Are you over 18 and want to see adult content?
![A complete backup of www.futebolinterior.com.br/futebol/Copa-do-Brasil/Unica/2020/noticias/2020-02/ferroviaria-2-x-0-avai-dois-g](https://www.archivebay.com/archive2/0fffa578-5e65-4e74-ac9f-c0bdbcc3ffa2.png)
A complete backup of www.futebolinterior.com.br/futebol/Copa-do-Brasil/Unica/2020/noticias/2020-02/ferroviaria-2-x-0-avai-dois-g
Are you over 18 and want to see adult content?
![A complete backup of www.sensacine.com.mx/noticias/noticia-18566105/](https://www.archivebay.com/archive2/4538992f-e29d-41af-91ab-18887df4aa7f.png)
A complete backup of www.sensacine.com.mx/noticias/noticia-18566105/
Are you over 18 and want to see adult content?
Text
be described as
GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
CIRCUMCISION, BY JACKSON POLLOCK Circumcision, by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In this transitional work of 1946 the subtle persistence of the Cubist grid system is felt in the panels that organize the composition and orient major pictorial details in vertical or horizontal positions. However, Jackson Pollock's dependence on Pablo Picasso has virtually NUMBER 18, 1950 BY JACKSON POLLOCK Number 18, 1950 by Jackson Pollock. Jackson Pollock's first fully mature works - dating between 1942 and 1947 - use an idiosyncratic iconography he developed in part as a response to Surrealism. Arising from this confluence of abstraction and figuration are Pollock's breakthrough works, commonly perceived as pure abstraction and madeover the
WHITE LIGHT, 1954 BY JACKSON POLLOCK Jackson Pollock painted White Light in time of Abstract Expressionism development. Jackson Pollock is motivated by Picasso during that time period. Through experience experiencing Dadaism, Surrealist development, Jackson Pollock created the style of unique painting which concerns the engagement of entire body in the demonstration ofpainting.
NUMBER 17A, 1948 BY JACKSON POLLOCK Number 17A, an oil on fiberboard and a good example of drip painting, was painted a year after Jackson Pollock introduced his famous drip technique.The abundance of paint creates a complex color vortex where the top and bottom layers are impossible to differentiate. Smudges of yellow, blue, and black on the fiberboard help soften the image, while three nearly-parallel white brushstrokes grab ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
NUMBER 8, 1949 BY JACKSON POLLOCK Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's NUMBER 27, 1950 BY JACKSON POLLOCK Number 27, 1950 by Jackson Pollock. Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture. It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tackingmargin.
ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy, 1947 by Jackson Pollock. Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that canbe described as
GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
CIRCUMCISION, BY JACKSON POLLOCK Circumcision, by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In this transitional work of 1946 the subtle persistence of the Cubist grid system is felt in the panels that organize the composition and orient major pictorial details in vertical or horizontal positions. However, Jackson Pollock's dependence on Pablo Picasso has virtually NUMBER 18, 1950 BY JACKSON POLLOCK Number 18, 1950 by Jackson Pollock. Jackson Pollock's first fully mature works - dating between 1942 and 1947 - use an idiosyncratic iconography he developed in part as a response to Surrealism. Arising from this confluence of abstraction and figuration are Pollock's breakthrough works, commonly perceived as pure abstraction and madeover the
WHITE LIGHT, 1954 BY JACKSON POLLOCK Jackson Pollock painted White Light in time of Abstract Expressionism development. Jackson Pollock is motivated by Picasso during that time period. Through experience experiencing Dadaism, Surrealist development, Jackson Pollock created the style of unique painting which concerns the engagement of entire body in the demonstration ofpainting.
NUMBER 17A, 1948 BY JACKSON POLLOCK Number 17A, an oil on fiberboard and a good example of drip painting, was painted a year after Jackson Pollock introduced his famous drip technique.The abundance of paint creates a complex color vortex where the top and bottom layers are impossible to differentiate. Smudges of yellow, blue, and black on the fiberboard help soften the image, while three nearly-parallel white brushstrokes grab ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
NUMBER 8, 1949 BY JACKSON POLLOCK Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's NUMBER 27, 1950 BY JACKSON POLLOCK Number 27, 1950 by Jackson Pollock. Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture. It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tackingmargin.
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
WAR, 1947 BY JACKSON POLLOCK War, 1947 by Jackson Pollock. Pollock's famous "War" is the only drawing he ever titled, and, although inscribed "1947," it relates to the iconographically complex images he produced earlier, around 1943-44. In this composition, the monstrous destruction of war is conveyed both by the fierceness of the graphic execution and by theimagery, much
GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
NUMBER 1, 1948 BY JACKSON POLLOCK Number 1, 1948 is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism.Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
MURAL, 1943 BY JACKSON POLLOCK Mural, 1943 by Jackson Pollock. When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easelpaintings.
PORTRAIT AND A DREAM, 1953 BY JACKSON POLLOCK Portrait and a Dream, 1953 by Jackson Pollock. Pollock's magic as a painter is in his refusal to acknowledge a gulf between his painting and himself. He spoke of being "in my painting". His abstract art is not of the rational, ordering mind but of the entire self. Thispainting, too, is
OCEAN GREYNESS, 1953 BY JACKSON POLLOCK Ocean Greyness, one of Pollock's last great works, depicts several disembodied eyes hidden within the swirling colored fragments that materialize from the dense, scumbled gray ground. "When you are painting out of your unconscious", he claimed, "figures are bound to emerge". Manifest in this painting is a dynamic tension betweenrepresentation
CROAKING MOVEMENT, 1946 BY JACKSON POLLOCK Croaking Movement, 1946 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. Pollock had moved to a house on Long Island in 1945, and early the next summer began using one of the bedrooms as a studio. Later in 1946 he arranged with Peggy Guggenheim to have a show at her Art of This Century gallery, to open in January of 1947. MOON WOMAN, 1942 BY JACKSON POLLOCK By 1942, when Pollock produced Moon Woman, Masson was living in New York. However, Pollock notably combined this evocation of Automatism with stylistic devices culled directly from Picosso's recent work, including his many representations of his mistress Marie-ThereseWalter.
ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that WHITE LIGHT, 1954 BY JACKSON POLLOCK Jackson Pollock painted White Light in time of Abstract Expressionism development. Jackson Pollock is motivated by Picasso during that time period. Through experience experiencing Dadaism, Surrealist development, Jackson Pollock created the style of unique painting which concerns the engagement of entire body in the demonstration ofpainting.
NUMBER 18, 1950 BY JACKSON POLLOCK Jackson Pollock's first fully mature works - dating between 1942 and 1947 - use an idiosyncratic iconography he developed in part as a response to Surrealism. ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Pollock's method was based on his earlier experiments with dripping and splattering paint on ceramic, glass, and canvas on an easel. Now, he laid a large canvas on NUMBER 8, 1949 BY JACKSON POLLOCK In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's draftsmanship, that amazing ability to quicken a line by thinning it, to slow it by flooding, to elaborate that simplest of CIRCUMCISION, BY JACKSON POLLOCK In this transitional work of 1946 the subtle persistence of the Cubist grid system is felt in the panels that organize the composition and orient major pictorial details in vertical or horizontal positions. OCEAN GREYNESS, 1953 BY JACKSON POLLOCK The critical debate that surrounded Abstract Expressionism during the late 1940s was embodied in the work of Jackson Pollock. Clement Greenberg, a leading critic and Pollock's champion, professed that each discrete art form should, above all else, aspire to a demonstration of its own intrinsic properties and not encroach on the domains of other art forms. NUMBER 27, 1950 BY JACKSON POLLOCK Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture.It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tacking margin. ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that WHITE LIGHT, 1954 BY JACKSON POLLOCK Jackson Pollock painted White Light in time of Abstract Expressionism development. Jackson Pollock is motivated by Picasso during that time period. Through experience experiencing Dadaism, Surrealist development, Jackson Pollock created the style of unique painting which concerns the engagement of entire body in the demonstration ofpainting.
NUMBER 18, 1950 BY JACKSON POLLOCK Jackson Pollock's first fully mature works - dating between 1942 and 1947 - use an idiosyncratic iconography he developed in part as a response to Surrealism. ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Pollock's method was based on his earlier experiments with dripping and splattering paint on ceramic, glass, and canvas on an easel. Now, he laid a large canvas on NUMBER 8, 1949 BY JACKSON POLLOCK In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's draftsmanship, that amazing ability to quicken a line by thinning it, to slow it by flooding, to elaborate that simplest of CIRCUMCISION, BY JACKSON POLLOCK In this transitional work of 1946 the subtle persistence of the Cubist grid system is felt in the panels that organize the composition and orient major pictorial details in vertical or horizontal positions. OCEAN GREYNESS, 1953 BY JACKSON POLLOCK The critical debate that surrounded Abstract Expressionism during the late 1940s was embodied in the work of Jackson Pollock. Clement Greenberg, a leading critic and Pollock's champion, professed that each discrete art form should, above all else, aspire to a demonstration of its own intrinsic properties and not encroach on the domains of other art forms. NUMBER 27, 1950 BY JACKSON POLLOCK Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture.It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tacking margin. WAR, 1947 BY JACKSON POLLOCK Pollock's famous "War" is the only drawing he ever titled, and, although inscribed "1947," it relates to the iconographically complex images he produced earlier, around 1943-44. NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Pollock's method was based on his earlier experiments with dripping and splattering paint on ceramic, glass, and canvas on an easel. Now, he laid a large canvas on GOTHIC, 1944 BY JACKSON POLLOCK Gothic 1944, demonstrates with great clarity the beginnings of a transition in the Pollock's mind. Bolstered perhaps by his experience with the Mural, Jackson Pollock began to move more definitely away from dependence on therapeutic sources, combined with the innovations of modern European art, to a rapidly increasing nonobjectivity andself-reliance.
BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
MURAL, 1943 BY JACKSON POLLOCK When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. OCEAN GREYNESS, 1953 BY JACKSON POLLOCK The critical debate that surrounded Abstract Expressionism during the late 1940s was embodied in the work of Jackson Pollock. Clement Greenberg, a leading critic and Pollock's champion, professed that each discrete art form should, above all else, aspire to a demonstration of its own intrinsic properties and not encroach on the domains of other art forms. GREEN SILVER BY JACKSON POLLOCK Arriving in New York in 1930 from the West Coast, Pollock began working with figuration of both human and imaginary beings. Most of this imagery was connected to that of American Indian sand painting and the Mexican muralists he saw as a youth and that reemerged CROAKING MOVEMENT, 1946 BY JACKSON POLLOCK Pollock had moved to a house on Long Island in 1945, and early the next summer began using one of the bedrooms as a studio. Later in 1946 he arranged with Peggy Guggenheim to have a show at her Art of This Century gallery, to open in January of 1947. Croaking Movement is one of the seven very different, but equally innovative freshly finished works that were exhibited. MOON WOMAN, 1942 BY JACKSON POLLOCK Durinq the 1930s, Jackson Pollock studied under the Regionalist painter Thomas Hart Benton ond the Mexican muralist David Alfaro Siqueiros, both of whom influenced his later work. NUMBER 27, 1950 BY JACKSON POLLOCK Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture.It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tacking margin. JACKSON POLLOCK PAINTINGS100 FAMOUS PAINTINGS ANALYSIS ANDBIOGRAPHYMURAL
Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy, 1947 by Jackson Pollock. Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that canbe described as
MURAL, 1943 BY JACKSON POLLOCK Mural, 1943 by Jackson Pollock. When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easelpaintings.
BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER 8, 1949 BY JACKSON POLLOCK Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's PORTRAIT AND A DREAM, 1953 BY JACKSON POLLOCK Portrait and a Dream, 1953 by Jackson Pollock. Pollock's magic as a painter is in his refusal to acknowledge a gulf between his painting and himself. He spoke of being "in my painting". His abstract art is not of the rational, ordering mind but of the entire self. Thispainting, too, is
AUTUMN RHYTHM (NUMBER 30), 1950 BY JACKSON POLLOCK Autumn Rhythm (Number 30), 1950 by Jackson Pollock. Pollock had created his first "drip" painting in 1947, the product of a radical new approach to paint handling. With Autumn Rhythm, made in October of 1950, the artist is at the height of his powers. In this nonrepresentational picture, thinned paint was applied to unprimed,unstretched canvas
OCEAN GREYNESS, 1953 BY JACKSON POLLOCK Ocean Greyness, one of Pollock's last great works, depicts several disembodied eyes hidden within the swirling colored fragments that materialize from the dense, scumbled gray ground. "When you are painting out of your unconscious", he claimed, "figures are bound to emerge". Manifest in this painting is a dynamic tension betweenrepresentation
THE DEEP, 1953 BY JACKSON POLLOCK The Deep, 1953 by Jackson Pollock. It was not for nothing that white was chosen as the vestment of pure joy and immaculate purity. And black as the vestment of the greatest, most profound mourning and as the symbol of death. The balance between these two colors that is achieved by mechanically mixing them together forms gray. THE SHE WOLF, 1943 BY JACKSON POLLOCK The She Wolf, 1943 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In the early 1940s Pollock, like many of his peers, explored primeval or mythological themes in his work. The wolf in this painting may allude to the animal that suckled the twin founders of Rome, Romulus and Remus, in the myth of the city's birth.But "She-Wolf came
JACKSON POLLOCK PAINTINGS100 FAMOUS PAINTINGS ANALYSIS ANDBIOGRAPHYMURAL
Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy, 1947 by Jackson Pollock. Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that canbe described as
MURAL, 1943 BY JACKSON POLLOCK Mural, 1943 by Jackson Pollock. When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easelpaintings.
BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER 8, 1949 BY JACKSON POLLOCK Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's PORTRAIT AND A DREAM, 1953 BY JACKSON POLLOCK Portrait and a Dream, 1953 by Jackson Pollock. Pollock's magic as a painter is in his refusal to acknowledge a gulf between his painting and himself. He spoke of being "in my painting". His abstract art is not of the rational, ordering mind but of the entire self. Thispainting, too, is
AUTUMN RHYTHM (NUMBER 30), 1950 BY JACKSON POLLOCK Autumn Rhythm (Number 30), 1950 by Jackson Pollock. Pollock had created his first "drip" painting in 1947, the product of a radical new approach to paint handling. With Autumn Rhythm, made in October of 1950, the artist is at the height of his powers. In this nonrepresentational picture, thinned paint was applied to unprimed,unstretched canvas
OCEAN GREYNESS, 1953 BY JACKSON POLLOCK Ocean Greyness, one of Pollock's last great works, depicts several disembodied eyes hidden within the swirling colored fragments that materialize from the dense, scumbled gray ground. "When you are painting out of your unconscious", he claimed, "figures are bound to emerge". Manifest in this painting is a dynamic tension betweenrepresentation
THE DEEP, 1953 BY JACKSON POLLOCK The Deep, 1953 by Jackson Pollock. It was not for nothing that white was chosen as the vestment of pure joy and immaculate purity. And black as the vestment of the greatest, most profound mourning and as the symbol of death. The balance between these two colors that is achieved by mechanically mixing them together forms gray. THE SHE WOLF, 1943 BY JACKSON POLLOCK The She Wolf, 1943 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In the early 1940s Pollock, like many of his peers, explored primeval or mythological themes in his work. The wolf in this painting may allude to the animal that suckled the twin founders of Rome, Romulus and Remus, in the myth of the city's birth.But "She-Wolf came
JACKSON POLLOCK' BIOGRAPHY Jackson Pollock (January 28, 1912 - August 11, 1956), was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, and struggled with alcoholism for most of his life. BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER 1, 1948 BY JACKSON POLLOCK Number 1, 1948 is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism.Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. GOING WEST, 1934 BY JACKSON POLLOCK Going West, 1934 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. Jockson Pollock is best known for his abstract 'drip-painting' technique developed in the late 1940s, Earlier in his career however, Pollock's work adopted a more narrative style and subject matter derived heavily from late nineteenth-century painters such as Pinkhom Ryder. OCEAN GREYNESS, 1953 BY JACKSON POLLOCK Ocean Greyness, one of Pollock's last great works, depicts several disembodied eyes hidden within the swirling colored fragments that materialize from the dense, scumbled gray ground. "When you are painting out of your unconscious", he claimed, "figures are bound to emerge". Manifest in this painting is a dynamic tension betweenrepresentation
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
NUMBER 18, 1950 BY JACKSON POLLOCK Number 18, 1950 by Jackson Pollock. Jackson Pollock's first fully mature works - dating between 1942 and 1947 - use an idiosyncratic iconography he developed in part as a response to Surrealism. Arising from this confluence of abstraction and figuration are Pollock's breakthrough works, commonly perceived as pure abstraction and madeover the
REFLECTION OF THE BIG DIPPER, 1947 BY JACKSON POLLOCK Reflection of the Big Dipper consists of built-up layers of paint with dripped enamel as the final touch, concluding the composition. It was around 1947 that Jackson Pollock traded in his brushes for sticks, trowels and knives and began adding foreign matter, such as sand, broken glass, nails, coins, paint-tube tops and bottle caps to hiscanvases.
THE DEEP, 1953 BY JACKSON POLLOCK The Deep, 1953 by Jackson Pollock. It was not for nothing that white was chosen as the vestment of pure joy and immaculate purity. And black as the vestment of the greatest, most profound mourning and as the symbol of death. The balance between these two colors that is achieved by mechanically mixing them together forms gray. FULL FATHOM FIVE, 1947 BY JACKSON POLLOCK Full Fathom Five is one of the earliest masterpieces of Pollock's drip technique. The actual origins and initial development of this technique have never been fully explained, except by reading back from fuller photographic evidence produced about 1950, two or three years after this work was painted. JACKSON POLLOCK' BIOGRAPHYSEE MORE ON JACKSON-POLLOCK.ORG JACKSON POLLOCK PAINTINGS100 FAMOUS PAINTINGS ANALYSIS ANDBIOGRAPHYMURAL
Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy, 1947 by Jackson Pollock. Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that canbe described as
NUMBER 5, 1948 BY JACKSON POLLOCKSEE MORE ON JACKSON-POLLOCK.ORG NUMBER 8, 1949 BY JACKSON POLLOCKART BY JACKSON POLLOCKJACKSON POLLOCK VIDEOJACKSON POLLOCK WEBSITEJACKSON POLLOCK BIOGRAPHYJACKSON POLLOCK 1940SJACKSON POLLOCK INFORMATION Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's OUT OF THE WEB, 1949 BY JACKSON POLLOCKART BY JACKSON POLLOCKLIFE MAGAZINE JACKSON POLLOCK 1949 Out of the Web, 1949 by Jackson Pollock. Evelyn Segal, a visitor to Jackson Pollock's studio on September 25, 1949, noted in her journal that she saw there an unusual work in which simple non-natural forms had been cut into a masonite panel. These were definitely recessed, having been gouged out as if the surface were a huge linoleum block. BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
MURAL, 1943 BY JACKSON POLLOCK Mural, 1943 by Jackson Pollock. When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easelpaintings.
ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. JACKSON POLLOCK' BIOGRAPHYSEE MORE ON JACKSON-POLLOCK.ORG JACKSON POLLOCK PAINTINGS100 FAMOUS PAINTINGS ANALYSIS ANDBIOGRAPHYMURAL
Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives ALCHEMY, 1947 BY JACKSON POLLOCK Alchemy, 1947 by Jackson Pollock. Alchemy is one of Jackson Pollock's earliest poured paintings, executed in the revolutionary technique that constituted his most significant contribution to twentieth-century art. After long deliberation before the empty canvas, he used his entire body in a picture-making process that canbe described as
NUMBER 5, 1948 BY JACKSON POLLOCKSEE MORE ON JACKSON-POLLOCK.ORG NUMBER 8, 1949 BY JACKSON POLLOCKART BY JACKSON POLLOCKJACKSON POLLOCK VIDEOJACKSON POLLOCK WEBSITEJACKSON POLLOCK BIOGRAPHYJACKSON POLLOCK 1940SJACKSON POLLOCK INFORMATION Number 8, 1949 by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In Number 8, 1949, Pollock's line has a polymorphous potency - the capacity to be everywhere at once, to serve the ends of illusion and materiality The poet Frank O'Hara put it as well as anyone ever has when he wrote: "There has never been enough said about Pollock's OUT OF THE WEB, 1949 BY JACKSON POLLOCKART BY JACKSON POLLOCKLIFE MAGAZINE JACKSON POLLOCK 1949 Out of the Web, 1949 by Jackson Pollock. Evelyn Segal, a visitor to Jackson Pollock's studio on September 25, 1949, noted in her journal that she saw there an unusual work in which simple non-natural forms had been cut into a masonite panel. These were definitely recessed, having been gouged out as if the surface were a huge linoleum block. BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER ONE, 1950 (LAVENDER MIST) BY JACKSON POLLOCK Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. The property led directly to Accabonac Creek, where eelgrass marshes and gorgeous,watery light
MURAL, 1943 BY JACKSON POLLOCK Mural, 1943 by Jackson Pollock. When Pollock received the commission to create a mural for the entry to Peggy Guggenheim's new townhouse, he had Howard Putzel, Guggenheim's secretary-assistant, to thank. Putzel had urged Guggenheim to give Pollock a project that would unleash the force he perceived in Pollock's smaller-scaled easelpaintings.
ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. JACKSON POLLOCK' BIOGRAPHY Jackson Pollock (January 28, 1912 - August 11, 1956), was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, and struggled with alcoholism for most of his life. JACKSON POLLOCK PAINTINGS Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives BLUE POLES, 1952 BY JACKSON POLLOCK Blue Poles, originally titled Number 11, 1952, is an abstract expressionist painting and one of the most famous works by Jackson Pollock.It was purchased amid controversy by the National Gallery of Australia in 1973 and today remains one of the gallery's majorholdings.
NUMBER 1, 1948 BY JACKSON POLLOCK Number 1, 1948 is a masterpiece of the "drip," or pouring, technique, the radical method that Pollock contributed to Abstract Expressionism.Moving around an expanse of canvas laid on the floor, Pollock would fling and pour ropes of paint across the surface. CIRCUMCISION, BY JACKSON POLLOCK Circumcision, by Jackson Pollock. Courtesy of www.Jackson-Pollock.org. In this transitional work of 1946 the subtle persistence of the Cubist grid system is felt in the panels that organize the composition and orient major pictorial details in vertical or horizontal positions. However, Jackson Pollock's dependence on Pablo Picasso has virtually ENCHANTED FOREST, BY JACKSON POLLOCK Like Alchemy, Enchanted Forest exemplifies Jackson Pollock's mature abstract compositions created by the pouring, dripping, and splattering of paint on large, unstretched canvases. In Enchanted Forest Pollock opens up the more dense construction of layered color found in works such as Alchemy by allowing large areas of white to breathe amidst the network of moving, expanding line. PORTRAIT AND A DREAM, 1953 BY JACKSON POLLOCK Portrait and a Dream, 1953 by Jackson Pollock. Pollock's magic as a painter is in his refusal to acknowledge a gulf between his painting and himself. He spoke of being "in my painting". His abstract art is not of the rational, ordering mind but of the entire self. Thispainting, too, is
NUMBER 28, 1950 BY JACKSON POLLOCK Number 28, 1950 by Jackson Pollock. Click Image to view detail. This painting is an acknowledged masterpiece from the artist's most successful period of work. Having moved from Manhattan to eastern Long Island, Pollock returned in 1947 to drip and pour techniques that he may have learned ten years earlier from David Alfaro Siquieros. REFLECTION OF THE BIG DIPPER, 1947 BY JACKSON POLLOCK Reflection of the Big Dipper consists of built-up layers of paint with dripped enamel as the final touch, concluding the composition. It was around 1947 that Jackson Pollock traded in his brushes for sticks, trowels and knives and began adding foreign matter, such as sand, broken glass, nails, coins, paint-tube tops and bottle caps to hiscanvases.
NUMBER 27, 1950 BY JACKSON POLLOCK Number 27, 1950 by Jackson Pollock. Attentive viewers of Jackson Pollock's Number 27, 1950 will notice a blue thread running almost parallel to the right framing edge until it meets the edge about half way up the picture. It then very closely tacks the corner fold of the canvas without ever quite disappearing from view over the tackingmargin.
* Home
* Our Store
* Masterpieces of Jackson Pollock* The Flame, 1938
* Mural, 1943
* Pasiphae, 1943
* Guardians of the Secret, 1943 * There Were Seven in Eight, 1943 * Shimmering Substance, 1945 * Eyes in the Heat, 1946* Sea Change, 1947
* Lucifer, 1947
* Full Fathom Five, 1947 * Reflection of the Big Dipper, 1947* Alchemy, 1947
* War, 1947
* Number 1, 1948
* Silver Over Black, White, Yellow, and Red , 1948 * Out of the Web, 1949* Number 8, 1949
* Number One, 1949
* Mural on Indian Red Ground, 1950 * Autumn Rhythm (Number 30), 1950 * One: Number 31, 1950* Blue Poles, 1952
* Convergence, 1952
* The Deep, 1953
* Ocean Greyness, 1953 * Greyed Rainbow, 1953 * Lavender Mist, 1953* White Light, 1954
* Famous Jackson Pollock Paintings* Biography
* Jackson Pollock Fun Facts* Quotes
JACKSON POLLOCK
Biography, Paintings, and QuotesSponsored Story
Sponsored Story
JACKSON POLLOCK AND HIS PAINTINGS JACKSON POLLOCK was an influential American painter, and the leading force behind the abstract expressionist movement in the art world. During his lifetime, Pollock enjoyed considerable fame and notoriety. Jackson Pollock's greatness lies in developing one of the most radical abstract styles in the history of modern art, detaching line from color, redefining the categories of drawing and painting, and finding new means to describe pictorial space. Jackson Pollock was born in Cody, Wyoming in 1912. His father, LeRoy Pollock was a farmer and later a land surveyor for the government. Jackson Pollock grew up in Arizona and Chico, California. During his early life, Pollock experienced Native American culture while on surveying trips with his father. Although he never admitted an intentional imitation or following of Native American art, Jackson Pollock did concede that any similarities were probably a result of his "early memories and enthusiasms." In 1929, Jackson Pollock studied at the Students' League in New York under regionalist painter, Thomas Hart Benton. During early 1930s, he worked in the Regionalist style, and was also influenced by Mexican muralist painter such as Digo Rivera , as well as by certain aspects of Surrealism - a 20th-century literary and artistic movement that attempts to express the workings of the subconscious by fantastic imagery and incongruous juxtaposition ofsubject matter.
In November 1939, _The Museum of Modern Art_ in New York City mounted an important Picasso exhibition entitled: _Picasso: 40 Years of His Art_, which contained 344 works of Pablo Picasso and his famous anti-war mural, Guernica . The exhibit led Pollock to recognize the expressive power of European modernism, which he had previously rejected in favor of American art. He began to forge a new style of semi-abstract totemic compositions, refined through obsessivereworking.
In the decades following World War II, a new artistic vanguard emerged, particularly in New York, that introduced radical new directions in art. The war and its aftermath were at the underpinnings of the movement that became known as Abstract Expressionism. Jackson Pollock, among other Abstract Expressionists, anxiously aware of human irrationality and vulnerability, expressed their concerns in an abstract art that chronicled the ardor and exigencies of modern life. By the mid 1940s, Jackson Pollock introduced his famous 'drip paintings', which represent one of the most original bodies of work of the century, and forever altered the course of American art. At times the new art forms could suggest the life-force in nature itself, at others they could evoke man's entrapment - in the body, in the anxious mind, and in the newly frightening modern world. To produce in Jackson Pollock's 'action painting', most of his canvases were either set on the floor, or laid out against a wall, rather than being fixed to an easel. From there, Jackson Pollock used a style where he would allow the paint to drip from the paint can. Instead of using the traditional paint brush, he would add depth to his images using knives, trowels, or sticks. This form of painting, had similar ties to the Surreal movement, in that it had a direct relation to the artist's emotions, expression, and mood, and showcased their feeling behind the piecesthey designed.
> The painting has a life of its own. I try to let it come through" > - Jackson Pollock In addition to the 'drip and splash' style, the _All-over_ method of painting, is also one which is tied to Jackson Pollock, and many of the artworks he created. This art form avoids any clear and distinct points of emphasis, or any identifiable parts within the canvas being used to create the piece. The designs and images which were created using this style of painting, really had no relation to the size of the canvas that was worked on; the lack of dimensions, and disregard for size of the drawings, were some unique features which this form of art captured. Many of the pieces which Jackson Pollock created following this style, required him to trim or crop the canvas, in order for the image to fit in, and to work with the overall featuresof the art.
Jackson Pollock at Work Pollock's radical methods and growing reputation quickly caught the attention of the mass media. In August 1949, _Life_ magazine ran a feature story posing the question: "Jackson Pollock: Is he the greatest living painter in the United States?" The text was alternately mocking and respectful. In 1951, at the height of the artist's career, _Vogue_ magazine published fashion photographs by Cecil Beaton of models posing in front of Pollock's drip paintings. Although this commercial recognition signaled public acceptance - and was symptomatic of mass culture's inevitable expropriation of the avant-garde - Pollock continuously questioned the direction and reception of his art. At the peak of his fame, Pollock abruptly abandoned the drip style. Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings have been referred to as his 'Black pourings' and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. But later Pollock moved to a more commercial gallery by returning to using color and figurative elements. In 1960s, Jackson Pollock was viewed as one of the most important figures in the art world, and one of the innovators of the avant-garde styles that were beginning to emerge. Like many other famous figures, the issues which Jackson Pollock suffered from in his personal life, such as his strife with alcoholism, added to his "superstar" status. And, his premature death, which took place when he was killed in a car crash, also added to the legendary status which he is still known from in the art worldtoday.
To this day Jackson Pollock is known as a leader in the most important 20th century American art movements. The risks and the creative approaches he took, led future artists to create with passion, as opposed to trying to follow set boundaries or guidelines. In addition, Pollock's radical paintings and dramatic persona helped draw attention to the broader group of Abstract Expressionists, including Willem de Kooning , Arshile Gorky, Robert Motherwell, Barnett Newman, and Mark Rothko.
> Painting is self-discovery. Every good artist paints what he is.">
> - Jackson Pollock Just like William Shakespeare on literature, and Sigmund Freud on psychology, Jackson Pollock's influence on American art is tremendous. Jackson Pollock made it possible for American painting to compete with European modernism by applying modernism's logic to new problem. He created a new scale, a new definition of surface and touch, a new syntax of relationships among space, pigment, edge, and drawing, displacing hierarchies with an unprecedented and powerful and fabulously intricate self-generating structure. Although actively engaged throughout his life in a serious dialogue with the history of world art which ranged from Paleolithic and Indian art to Renaissance art masters Michelangelo, Leonardo da Vinci
; from Mexican muralists to the Surrealists Salvador Dali , Joan Miro, and Max Ernst -
Pollock's aspirations always remained courageously and even chauvinistically of this continent. Pollock's defiant refusal to stay within traditional bounds, violence, exasperation and stridency, all were paradigmatically New World. At a time - and in a guise that absolutely nobody expected - these were the unlikely characteristics that finally came together to produce an American Prometheus. MASTERPIECES OF JACKSON POLLOCK*
Autumn Rhythm
*
Blue Poles
*
Number One, 1950 (Lavender Mist)*
Convergence
*
Mural
*
The She Wolf
*
Number 1
*
Number 5
*
The Deep
*
Reflection of the Big Dipper*
One Number 31
*
The Flame
*
Number One, 1949
*
Shimmering Substance*
Pasiphae
*
Eyes in the Heat
*
Full Fathom Five
*
Mural on Indian Red Ground*
Guardians of the Secret*
Ocean Greyness
*
Out of the Web
*
Silver Over Black, White, Yellow, and Red*
Portrait and a Dream*
Number 8
*
Autumn Rhythm
*
Blue Poles
*
Number One, 1950 (Lavender Mist)*
Convergence
*
Mural
*
The She Wolf
Our Etsy Store
Sponsored Story
Contact Us | Terms of Use | Links Please note that www.Jackson-Pollock.org is a private website, unaffiliated with Jackson Pollock or his representatives The requested content cannot be loaded. Please try again later.Details
Copyright © 2024 ArchiveBay.com. All rights reserved. Terms of Use | Privacy Policy | DMCA | 2021 | Feedback | Advertising | RSS 2.0