Elena Rossi
Number 32, 1950 by Jackson Pollock is considered by many, including the artist himself, to be one of the best paintings he ever created. The painting is an exemplary work of abstract expressionism, specifically the sub-genre of action painting, and is a visual representation of the climax of Pollock's artistic abilities and career.
| Characteristics | Values |
|---|---|
| Artist | Jackson Pollock |
| Year | 1950 |
| Genre | Abstract expressionism, Action painting |
| Size | 457.5 x 269 cm |
| Location | Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany |
| Medium | Enamel paint on canvas |
| Style | Drip style, Monochromatic |
| Technique | Drip technique |
| Influence | David Alfaro Siqueiros, Wolfgang Paalen |
| Impact | Influenced Color Field painters, Emphasized process of creation |
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What You'll Learn
Jackson Pollock considered it one of his best works
Jackson Pollock considered 'Number 32' (1950) to be one of his best works. This sentiment was shared by many in the art world, who saw the painting as a visual representation of the climax of Pollock's artistic abilities and career. 'Number 32' stands apart from Pollock's other paintings; it is monochromatic and simpler in its sinuous lines. Painted in Pollock's famous ""drip style", the work appears chaotic, with no main figure to focus on, forcing the viewer to take in the painting as a whole. The black, trailing lines of paint speak of simplicity, chasing and flowing fluidly over the surface of the canvas.
Pollock's action painting technique aligns the artwork with the rhythms of nature and the artist's own subconscious, creating a deeply immersive and sensorial experience for viewers. The painting captivates with its intricate labyrinth of black enamel dripped, flung, and splattered across a vast canvas. This technique, synonymous with Pollock’s name, projects an intense energy, as the interwoven lines and shapes seem to vibrate with a life of their own.
The absence of a central focal point allows viewers to interpret the space as they wish, with every glance potentially offering a new perspective. This challenges the traditional view of what a painting should be, as 'Number 32' only has a foreground, creating a sense of flattened space. The work involves the audience using their imagination, as they attempt to make images out of the lines and organic shapes.
'Number 32' reflects Pollock's artistic innovation, which played a significant role in the evolution of modern art. The painting is a quintessential example of his style, with its emphasis on the physical act of painting as an essential aspect of the finished work. Pollock's staining into raw canvas influenced the Color Field painters Helen Frankenthaler and Morris Louis, and his focus on the process of creation inspired Happenings artist Allan Kaprow, sculptors Richard Serra and Eva Hesse, and many contemporary artists.
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Action painting and abstract expressionism
The term "action painting" was coined by American art critic Harold Rosenberg in 1952 to describe the work of a group of American Abstract Expressionists, including Jackson Pollock, Willem de Kooning, Franz Kline, Bradley Walker Tomlin, and Jack Tworkov. Action painting is characterized by the spontaneous application of paint through vigorous, sweeping brushstrokes, dripping, flinging, splashing, and spilling. The act of painting is just as important as the final work, with the artist's physical movements and interactions with the materials being a key part of the process. This method of painting is highly active and expressive, often requiring the artist to stand over, walk around, and even run across the canvas.
Abstract Expressionism, of which Action Painting is a sub-genre, was the most influential art movement of the 1950s. It was characterized by a lack of collective style, with each artist developing their own individual signature. This diversity in style allowed Rosenberg to speak of the artists collectively in a way that highlighted their motivations rather than the appearance of their paintings. One of the key tenets of Abstract Expressionism was the idea of formlessness, first introduced by French writer-philosopher Georges Bataille, which argued that art should be brought down from its elevated status and that its base materialism should be celebrated as a tool for creativity.
Jackson Pollock's "Number 32, 1950" is an exemplary work of Abstract Expressionism and specifically of Action Painting. The painting is a large-scale work, measuring 457.5 x 269 cm, and is created using black enamel paint dripped, flung, and splattered across the canvas. The complex composition challenges traditional methods of representation and invites an emotional and instinctual response from the viewer. The absence of a central focal point allows for multiple interpretations and perspectives.
Pollock's technique aligns the artwork with the rhythms of nature and the artist's subconscious, creating a deeply immersive and sensorial experience. His performative way of painting is highly active and spontaneous, with the ability to respond to new lines and forms as they emerge. This back-and-forth between the painter and the painting is at the heart of Rosenberg's idea of Action Painting. Pollock's work reflects the influence of the "'automatic'" techniques developed by the Surrealists in Europe in the 1920s and 1930s, which involved creating art without conscious thought and accessing the unconscious mind.
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The role of the artist and the audience
Number 32, 1950 by Jackson Pollock is considered by many, including the artist himself, to be one of his best works. This large-scale painting, measuring 457.5 x 269 cm, is a striking example of abstract expressionism and action painting. Pollock's innovative style and technique played a pivotal role in the evolution of modern art.
The role of the artist in this context is multifaceted. Firstly, Pollock serves as the creator and facilitator of the artistic experience. His physical act of painting and the energy he imbued in the work are integral to the final piece. Pollock's active engagement with the canvas, through dripping, flinging, and splattering paint, resulted in a dynamic and immersive artwork. The artist's movements and actions translate into a visual language that challenges traditional representations and invites an emotional and instinctual response from viewers.
Pollock's role also extends to challenging traditional notions of painting. By abandoning the traditional foreground, middle ground, and background, Pollock creates a flattened space that defies conventional depth. This challenges viewers' expectations of what a painting should be and encourages them to interpret the space in their own way. The absence of a central focal point further enhances this aspect, allowing for multiple perspectives and interpretations with every glance.
The artist's role also involves a degree of collaboration with the audience. Pollock's action painting technique aligns the artwork with his subconscious, creating a deeply immersive and sensorial experience for the viewer. The audience is invited to engage their imagination and make sense of the intricate labyrinth of lines and shapes. The spontaneous and expressive nature of Pollock's work reflects his own subconscious and invites viewers to explore their own interpretations and emotional responses.
The role of the audience is equally important in the context of Number 32, 1950. As viewers, we are invited to participate in the completion of the artwork through our interpretations and emotional reactions. The absence of a central focal point and the complex composition encourage viewers to take in the painting as a whole, allowing their imaginations to run wild as they seek to identify shapes and images within the labyrinth of lines.
The audience is also encouraged to engage in a sensory and immersive experience. Pollock's action painting technique, with its rhythmic and spontaneous application of paint, creates a deep connection between the artwork and the viewer. The sense of movement and spontaneity in the artwork stimulates a corresponding response in the viewer, inviting them to actively explore the piece and discover new perspectives with every glance.
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The painting's monochromatic, sinuous lines
Number 32, 1950, by Jackson Pollock, is a monochromatic painting characterised by sinuous, fluid lines. The work is a dramatic 457.5 x 269 cm and is currently housed in the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany.
The painting is a striking example of Pollock's "'drip style" or "drip technique", where the artist dripped, flung, and splattered black enamel paint across a vast canvas. This technique results in a chaotic, intricate labyrinth of interwoven lines and shapes that appear to vibrate with energy and spontaneity.
The monochromatic nature of Number 32 is a significant departure from Pollock's other works. While he often started with black paint, he would eventually return to the canvas and fill in the lines with colourful dribbles, splashes, and trails of colour. In Number 32, the absence of colour emphasises the boldness of the black paint on the white canvas, creating a powerful visual impact. The continuous, flowing lines become the dominant imagery, with no central figure or scene to distract the viewer.
The painting's sinuous lines are a result of Pollock's unique and untraditional method of applying paint. He would move around the canvas laid on the floor, using stiff brushes and sticks stuck in paint cans to guide the paint. When frustrated, he would abandon these tools and pour and splash paint straight from the can. This dynamic process resulted in the expressive, sinuous lines that characterise Number 32.
Number 32, 1950, is considered a masterpiece by both Pollock himself and many in the art world. It is a quintessential example of Pollock's innovative style and played a significant role in the evolution of modern art.
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Pollock's influence on modern art
"Number 32, 1950" by Jackson Pollock is an exemplary work of abstract expressionism and specifically the sub-genre of action painting. Pollock's action painting technique aligns the artwork with the rhythms of nature and the artist's own subconscious, creating a deeply immersive and sensorial experience for viewers. Pollock employed enamel paints on canvas, emphasising the physical act of painting as an essential aspect of the finished work. The absence of a central focal point allows viewers to interpret the space as they wish, with every glance potentially offering a new perspective.
Pollock's influence extended beyond just his artistic techniques. His 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. Pollock's impact on the American Abstract Expressionist movement is comparable to that of Vincent van Gogh on Impressionism. Pollock made it possible for American painting to compete with European modernism by applying modernism's logic to a new problem.
Pollock's work also reflected his personal life and struggles. He struggled with alcoholism for most of his life and suffered a mental health crisis in 1938, which led to his hospitalization. Pollock's wife, Lee Krasner, is often considered to have tutored him in the tenets of modernistic painting and introduced him to many collectors, critics, and artists. Pollock's work received widespread publicity and serious recognition for his radical "drip" technique, with his work and example having an enormous influence on his contemporaries and subsequent art movements in the United States.
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Frequently asked questions
Yes, 'Number 32, 1950' is an example of Jackson Pollock's action painting technique, also known as his ""drip style".
Action painting is a form of abstract expressionism that emphasises the physical act of painting as an essential aspect of the finished work.
Pollock created 'Number 32, 1950' by dripping, flinging, and splattering black enamel paint onto a canvas laid on the floor, using brushes, sticks, and pouring straight from the can.
'Number 32, 1950' is a large-scale painting, measuring 457.5 x 269 cm. It is monochromatic, with no central focal point, allowing viewers to interpret the space as they wish. The painting is characterised by its intricate labyrinth of interwoven lines and shapes that appear to vibrate with a life of their own.
Pollock himself considered 'Number 32, 1950' to be one of the best paintings he ever created, and this view is shared by many in the art world. The painting is seen as a visual representation of the climax of Pollock's artistic abilities and his career, showcasing his innovative style and technique in a strong, clear manner.
