Jackson Pollock. Number 1A, 1948. 1948. Oil and enamel paint on canvas, 68” x 8’8.” On view at MoMA in a recent acquisitions exhibition in 1950
Jackson Pollock. Number 1A, 1948. 1948. Oil and enamel paint on canvas, 68″ x 8’8″. The Museum of Modern Art, New York. Purchase. © 2013 Pollock-Krasner Foundation/Artists Rights Society (ARS), New York
With study and treatment of One: Number 31, 1950 completed and the painting returned to exhibition, we’re moving on to the final painting of the project: Number 1A, 1948.
A meeting between conservators and curators to view One: Number 31, 1950 as Pollock would have during its creation: laid horizontally
Throughout the project, we’ve been working closely with curators in MoMA’s Department of Painting and Sculpture, and this exchange of ideas surrounding Pollock has enriched and informed the treatment process. During one such meeting, we took advantage of the opportunity to view One: Number 31,1950 as Pollock saw it during its inception: laid horizontally.
Over the past nine months, Inside/Out readers have been following MoMA’s Jackson Pollock Conservation Project, the study and restoration of three iconic Pollock paintings in the Museum’s collection.
Jackson Pollock at work in his studio, 1950. Photo: Hans Namuth
In the May 1951 issue of ARTnews a selection of photographs by Hans Namuth appeared as illustrations for Robert Goodnough’s article, “Pollock Paints a Picture.” The images depict a focused Pollock energetically applying paint to a large canvas spread across his studio floor.
Conservation scientist Chris McGlinchey conducts elemental analysis using a handheld X-ray Fluorescence (XRF) analyzer
Empirical examination and scientific analysis are fundamental to conservation research and treatment; conservators frequently collaborate with scientists in order to clarify specific questions: to identify materials, elucidate degradation mechanisms, or test the efficacy of conservation methods.
MoMA Assistant Conservator Jennifer Hickey inspects the paint surface of One: Number 31, 1950 under magnification
In our last post, we took a closer look at the variety of visual effects Pollock was able to achieve with his painting technique. We also observed some passages of paint that don’t appear to fit the typical characteristics of poured house paint. So we set out to investigate this seeming inconsistency.
One: Number 31, 1950 before treatment
It’s a good time to be studying and working on Jackson Pollock’s paintings. With projects also underway at the Seattle Art Museum and The J. Paul Getty Museum
We covered a lot of territory in our last post, documenting Echo’s condition and treating the discolored canvas. Our efforts have produced satisfying results.
We left off in our last post having explained the research and assessment that precedes any conservation treatment. Using Echo as our object of study, we examined questions that arise after looking closely at a painting. Let’s delve into one such question.
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