Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop operated in New York City by the Mexican muralist
David Alfaro Siqueiros. He later used paint pouring as one of several techniques on canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his "
drip" technique. The drip technique required paint with a fluid viscosity. Therefore, Pollock turned to synthetic resin-based paints called
alkyd enamels, which, at that time, was a novel medium. Pollock described this use of household paints, instead of artist’s paints, as "a natural growth out of a need".
[7] He used hardened brushes, sticks, and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term
action painting. With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas. By defying the convention of painting on an upright surface, he added a new dimension, literally,[
citation needed] by being able to view and apply paint to his canvases from all directions.
In the process of making paintings in this way, he moved away from figurative representation, and challenged the Western tradition of using easel and brush. He also moved away from the use of only the hand and wrist, since he used his whole body to paint. In 1956,
Time magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style.
[8]“My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.”
“I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy
impasto with sand, broken glass or other foreign matter added.”
“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 fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
Pollock denied "the accident"; he usually had an idea of how he wanted a particular piece to appear. His technique combined the movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.
Studies by Taylor, Micolich and Jonas have examined Pollock's technique and have determined that some works display the properties of mathematical
fractals.
[9] They assert that the works become more fractal-like chronologically through Pollock's career.
[10] The authors even speculate that Pollock may have had an intuition of the nature of
chaotic motion, and attempted to form a representation of mathematical chaos, more than ten years before "
Chaos Theory" itself was proposed. Other experts
[11] suggest that Pollock may have merely imitated popular theories of the time in order to give his paintings a depth not previously seen.
In 1950,
Hans Namuth, a young photographer, wanted to photograph and film Pollock at work. Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished. Namuth's comment upon entering the studio:
“A dripping wet canvas covered the entire floor. . . There was complete silence. . . Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter. . . My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said 'This is it.'”
“Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. There is not inside or outside to Pollock’s line or the space through which it moves…. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.(Karmel 132)
Paul 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 all of his life. In 1945, he married the artist
Lee Krasner, who became an important influence on his career and on his legacy.
In October 1945, Pollock married another important American painter,
Lee Krasner, and in November they moved to what is now known as the
Pollock-Krasner House and Studio in
Springs on
Long Island, New York.
Peggy Guggenheim loaned them the down payment for the wood-frame house with a nearby barn that Pollock made into a studio. It was there that he perfected the technique of working spontaneously with liquid paint.
Pollock wanted an end to the viewer's search for representational elements in his paintings, thus he abandoned titles and started numbering the paintings instead. Of this, Pollock commented: "...look passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for." Pollock's wife,
Lee Krasner, said Pollock "used to give his pictures conventional titles... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is - pure painting."
[7]In a famous 1952 article in ARTnews,
Harold Rosenberg coined the term "action painting," and wrote that "what was to go on the canvas was not a picture but an event. The big moment came when it was decided to paint 'just to paint.' The gesture on the canvas was a gesture of liberation from value — political, aesthetic, moral." Many people assumed that he had modeled his "action painter" paradigm on Pollock.
Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in form and elimination of historical content. He therefore saw Pollock's work as the best painting of its day and the culmination of the Western tradition going back via
Cubism and
Cézanne to
Manet.
Others such as artist, critic, and satirist
Craig Brown, have been "astonished that decorative 'wallpaper', essentially brainless, could gain such a position in art history alongside
Giotto,
Titian, and
Velázquez."
[28]Reynold's News in a 1959 headline said, "This is not art — it's a joke in bad taste."
[
In 1923, Tobey met Teng Kuei, a Chinese painter and student at the University of Washington, who introduced Tobey to Eastern penmanship, beginning Tobey’s exploration of Chinese calligraphy. 
