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Essay / Research Paper Abstract
A 6 page research paper/essay that discusses the art of Jackson Pollock. Pollock’s painting “Magic Lantern” (1947) is a “small, fluent essay with nail embedded in its carefully poured drips of paint” (Kimmelman, 1988). The first part of this following examination of Pollock’s painting examines the scale, materials and content that defined Pollock’s style. Then, the way that Pollock’s art can be interpreted is explored further by exploring the critical perception of Pollock voiced by Clement Greenberg (1909-1994) and Ernst Gombrich (1909-2001). Bibliography lists 6 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khcripol.rtf
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Unformatted sample text from the term paper:
of this following examination of Pollocks painting examines the scale, materials and content that defined Pollocks style. Then, the way that Pollocks art can be interpreted is explored further by
exploring the critical perception of Pollock voiced by Clement Greenberg (1909-1994) and Ernst Gombrich (1909-2001). Pollock was part of the abstract expressionist artists working in post-WWII New York. Fleming
(1974) is eloquent in his description of how Pollocks background and previous life experiences influenced his art. In his early career, Pollock suffered the "agonies of poverty, alienation, world holocaust,
public indifference and alcoholism" (Fleming, 1974, p. 401). Nevertheless, he survived harsh conditions and succeeded in offering the world a "new and monumentally valid revisualization of high art as it
evolved in European civilization-only to die violent in an automobile accident at the age of 44 (Fleming, 1974, p. 401). Pollocks "drip technique" allowed him the freedom to develop
his "nervous, meandering line" into a "brilliant arabesque of poured pigment," which created a "web of open, transparent skeins and net" (Fleming, 1974, p. 401). Between 1947 and 1951, Pollock
abandoned the easel and lay his canvases on the floor and drip ordinary house paint on them with a sweeping gesture. In an interview, Pollock explained, "On the floor,
I am more at ease...I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and be literally in
the paint" (Schwendener). The medium that he used on the floor was specifically "raw, unprimed duck," although, at time, he might substitute this medium for one of a material that
had been stained a "single, uniform color" (Fleming, 1974, p. 401). This technique allowed Pollock to work on a scale, size-wise, which was virtually unknown within the contemporary world of
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