In the summer and fall of 1950, Pollock created three monumental canvases, each more than eight feet high and over fifteen feet wide. The colors varied from stark blacks and whites to subtle browns and teals; the lines were sometimes hard and jagged, sometimes soft and flowing. With their enormous scale and their seeming lack of internal structure, these pictures occupied the entire field of vision, evoking a new kind of pictorial space. The painting was no longer an object in the viewer's environment: it had become an environment in itself.