ART LEARNING Unit (CLIL)
Jackson Pollock
The "action painting"
start
Case Study
Activities on the case
BIOGRAPHY
MASTERPIECES
Next
Lorem ipsum dolor sit amet
Unit presentation
Artwork by Jackson Pollock
Untitled
Date
ca. 1946 Medium
Gouache and pastel on paper Dimensions
22 7/8 x 31 1/2 inches (58 x 80 cm) Credit Line
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
Unit presentation
Number 18
Date
1950 Medium
Oil and enamel on Masonite Dimensions
22 1/16 x 22 5/16 inches (56 x 56.7 cm) Credit Line
Solomon R. Guggenheim Museum, New York Gift, Janet C. Hauck, in loving memory of Alicia Guggenheim and Fred Hauck, 1991
Unit presentation
The Moon Woman
Date
1942 Medium
Oil on canvas Dimensions
69 x 43 1/16 inches (175.2 x 109.3 cm) Credit Line
The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976
Unit presentation
Jackson Pollock e l’action painting: “voglio esprimere i miei sentimenti piuttosto che illustrarli”
Lorem ipsum dolor
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod.
Lorem ipsum dolor sit
- Lorem ipsum dolor sit amet.
- Consectetur adipiscing elit.
- Sed do eiusmod tempor incididunt ut.
- Labore et dolore magna aliqua.
He was born on Jenuary 28,1912, in Cody, Wyoming.
In 1928, he began to study painting at the manual art High School, Los Angeles.
In fall 1930 Pollpck moved to New York and studied under Thomas Hunt Benton at The Art Students League,
His first solo show was held at Guggenheim's Art of This Century in New York (1945). Prior to 1947, Pollok's work reflected the influence of Pablo Picasso and Surrealism. By the mid -1940's, Pollock was painting in a completely abstract manner, liberating himself from the vertical contrasting of a easel by affixing unstretched raw canvas to the floor. In 1947, his "drip style" marked by the use of striks, towels or knives to drip and splatter paint, as well as, pouring paint directly from the can, emerged.
Jackson Pollock’s first fully mature works—dating between 1942 and 1947—use an idiosyncratic iconography he developed in part as a response to Surrealism. Arising from this confluence of abstraction and figuration are Pollock’s breakthrough works, commonly perceived as pure abstraction and made over the course of an explosive period between late 1947 and 1950, as in Number 18 (1950). In the postwar period, artists were anxiously aware of human irrationality and vulnerability; many, including Pollock, expressed their concerns in an abstract art that chronicled the ardor and exigencies of modern life. Pollock also broke free from the standard use of implements at this time, usually abandoning their direct contact with the surface. Working from above the picture plane, he dripped and poured enamel paints on canvases and papers, a method that more precisely controlled the application of line, and introduced radical new directions in art.
The Moon Woman suggests the example of Picasso, particularly his Girl Before a Mirror of 1932. The palettes are similar, and both artists describe a solitary standing female as if she had been x-rayed, her backbone a broad black line from which her curving contours originate. Frontal and profile views of the face are combined to contrast two aspects of the self, one serene and public, the other dark and interior.
ART LEARNING UNIT
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Transcript
ART LEARNING Unit (CLIL)
Jackson Pollock
The "action painting"
start
Case Study
Activities on the case
BIOGRAPHY
MASTERPIECES
Next
Lorem ipsum dolor sit amet
Unit presentation
Artwork by Jackson Pollock
Untitled
Date ca. 1946 Medium Gouache and pastel on paper Dimensions 22 7/8 x 31 1/2 inches (58 x 80 cm) Credit Line The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice, 1976
Unit presentation
Number 18
Date 1950 Medium Oil and enamel on Masonite Dimensions 22 1/16 x 22 5/16 inches (56 x 56.7 cm) Credit Line Solomon R. Guggenheim Museum, New York Gift, Janet C. Hauck, in loving memory of Alicia Guggenheim and Fred Hauck, 1991
Unit presentation
The Moon Woman
Date 1942 Medium Oil on canvas Dimensions 69 x 43 1/16 inches (175.2 x 109.3 cm) Credit Line The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976
Unit presentation
Jackson Pollock e l’action painting: “voglio esprimere i miei sentimenti piuttosto che illustrarli”
Lorem ipsum dolor
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod.
Lorem ipsum dolor sit
He was born on Jenuary 28,1912, in Cody, Wyoming.
In 1928, he began to study painting at the manual art High School, Los Angeles.
In fall 1930 Pollpck moved to New York and studied under Thomas Hunt Benton at The Art Students League,
His first solo show was held at Guggenheim's Art of This Century in New York (1945). Prior to 1947, Pollok's work reflected the influence of Pablo Picasso and Surrealism. By the mid -1940's, Pollock was painting in a completely abstract manner, liberating himself from the vertical contrasting of a easel by affixing unstretched raw canvas to the floor. In 1947, his "drip style" marked by the use of striks, towels or knives to drip and splatter paint, as well as, pouring paint directly from the can, emerged.
Jackson Pollock’s first fully mature works—dating between 1942 and 1947—use an idiosyncratic iconography he developed in part as a response to Surrealism. Arising from this confluence of abstraction and figuration are Pollock’s breakthrough works, commonly perceived as pure abstraction and made over the course of an explosive period between late 1947 and 1950, as in Number 18 (1950). In the postwar period, artists were anxiously aware of human irrationality and vulnerability; many, including Pollock, expressed their concerns in an abstract art that chronicled the ardor and exigencies of modern life. Pollock also broke free from the standard use of implements at this time, usually abandoning their direct contact with the surface. Working from above the picture plane, he dripped and poured enamel paints on canvases and papers, a method that more precisely controlled the application of line, and introduced radical new directions in art.
The Moon Woman suggests the example of Picasso, particularly his Girl Before a Mirror of 1932. The palettes are similar, and both artists describe a solitary standing female as if she had been x-rayed, her backbone a broad black line from which her curving contours originate. Frontal and profile views of the face are combined to contrast two aspects of the self, one serene and public, the other dark and interior.