Jackson Pollock. One: Number 31, 1950. 1950

Jackson Pollock One: Number 31, 1950 1950

  • Not on view

This is one of three wall-size paintings that Pollock realized in swift succession in the summer and autumn of 1950. In 1947, Pollock began laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from the can, or with sticks and stiffened brushes. The density of interlacing liquid threads of paint is balanced and offset by puddles of muted colors and by allover spattering. The pictorial result of this tension is a landmark in the history of Abstract Expressionism.

Gallery label from 2006.

As he did for all his “drip” paintings, Pollock painted this work from above, with the canvas lying flat on the floor. “On the floor I am more at ease,” he said. “I feel nearer, more a part of the painting since this way I can walk around it, work from the four sides and literally be in the painting.” Begun approximately three years after his first work in this style, One: Number 31, 1950 is evidence of the artist’s technical prowess. Calligraphic, looping cords of color animate and energize every inch of the composition, which seems to expand visually despite its enormous size.

Gallery label from 2011.

One: Number 31, 1950 is one of Pollock's largest paintings and a masterpiece of the "drip" technique. Calligraphic, looping cords of color traverse the canvas with an energy that registers force and speed yet is also graceful and lyrical, animating every inch of the composition so that it seems to expand despite its already enormous size. As he did for all his drip paintings, Pollock painted One: Number 31, 1950 with the canvas lying on the floor. "On the floor I am more at ease," he said. "I feel nearer, more a part of the painting since this way I can walk around it, work from the four sides and literally be in the painting." Pollock's process has been compared to choreography, as if his painting traced the movements of a dance. At different moments One: Number 31, 1950 can suggest the pulsing intensity of the modern city, the primal rhythms of nature, or the flickering forms and infinite depths of the cosmos.

Gallery label from Jackson Pollock: A Collection Survey, 1934-1954, November 22, 2015–May 1, 2016.
Medium
Oil and enamel paint on canvas
Dimensions
8' 10" x 17' 5 5/8" (269.5 x 530.8 cm)
Credit
Sidney and Harriet Janis Collection Fund (by exchange). Conservation was made possible by the Bank of America Art Conservation Project
Object number
7.1968
Copyright
© 2019 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York
Department
Painting and Sculpture

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