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Donald Wigal - Jackson Pollock: Veiling the Image

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Donald Wigal Jackson Pollock: Veiling the Image
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Jackson Pollock: Veiling the Image: summary, description and annotation

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In the beginning, the canvas is white, void; then the cautious start, then the running of the paint from the pot onto the white of the surface Hans Namuth.
Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading nineteenth century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project, he quickly won acclaim, and after the Second World War became the biggest art celebrity in America.
For De Kooning, Pollock was the icebreaker. For Max Ernst and Masson, Pollock was a fellow member of the European surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School.
During the many upheavals in his life in New York in the 1950s and 60s, Pollock lost his bearings success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended, like that of 50s film icon James Dean, behind the wheel of his Oldsmobile, after a night of drinking.
This book throws light on a new era in art and on the personality of Pollock, the undisputed master of Abstract American Expressionism.

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Text: Donald Wigal

Layout:

Baseline Co Ltd

61A-63A Vo Van Tan Street

th Floor

District 3, Ho Chi Minh City

Vietnam

Parkstone Press USA, New York.

Confidential Concepts, worldwide, USA.

Pollock Estate / Artists Rights Society, New York, USA.

Daros Collection, Switzerland / Artists Rights Society, New York, USA, p.

Barnett Newman / Artists Rights Society, New York, USA, p.

Mark Rothko / Artists Rights Society, New York, USA, p.

Ruth Kligman, p.

Willem de Kooning Estate / Artists Right Society, New York, USA p.

Adolph Gottlieg Estate / Artists Rights Society, New York / ADAGP, Paris, p.

Robert Motherwell Estate / Artists Rights Society, New York / ADAGP, Paris, p.

Rudolph Burckard / Artists Rights Society, New York. ADAGP, Paris, pp. 242-244

All rights reserved

No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership.

Where this is the case we would appreciate notification.

ISBN: 978-1-78310-748-3

Donald Wigal

Jackson Pollock

Veiling the Image

Acknowledgement The author acknowledges Ruth Kligman Athos Zacharius the - photo 1

Acknowledgement

The author acknowledges Ruth Kligman; Athos Zacharius; the ArtChroniclesoftheSmithsonian; Jerry Saltz, VillageVoice art critic; photographer Robin Holland; artists James Cullina of ArtSleuth, Bob Stanley, Kathy Segall, and Bill Rabinovitch; authors Carmel Reingold, James Robert Parish, George Sullivan, Susan Waggoner, and William Kuhns; agents Stephany Evans, Elaina Zucker, Robert Markel; Barlow Hartman and Mercedes Ruehl; James Yohe of Ameringer/Yohe/FineArt; Tina Dickey, editor of the HansHofmannCatalogueRaisonn; Maggie Seildon of JasonMcCoyGallery; Cheryl Orlick of the Albright-KnoxArtGallery; Bradley D. Cook of IndianaUniversityArchives; Jennifer Ickes of the NewOrleansMuseumofArt; Isabelle Dervaux, Curator of Modern and Contemporary Art, NationalAcademyMuseum; Verity Hawson, Lillian Kiesler, Cornelia Sontag, Brangre Mardel, and Eliane de Srsin of ParkstonePress; for research support, Bro. Frank ODonnell, Edie LaGuardia Hansen, Dr. Mark Cooper and Gene Carney; Vera Haldy for German translation; Herbert Verbesey and Gerard Sullivan for the Latin dedication; Antonio Bautista, Michael Morris; Cheryl Murray of EntertainmentLawDigest; also, AlternativeResearch for on-line research; Richart Taylor and his Jackson Pollock center at the University of Oregon.

Thanks to Catherine OReilly for her dedication, generosity, meticulous and expert editorial input on this and a dozen books over the past 25 years.

Dedication

I dedicate this work to these colleagues with whom I share a common bond. They generously made my work this past year possible: Tom Brenn, Paul Cibrowski, Joe Clark, Richard Csarny, Jim Cullina, Gene Carney, Jim DeVito, Joe Fagan, Bill Gannon, Brian Griffin, Bob Higdon, John Kane, Mel Kubander, Joe LaSala, Joe Manzo, Joe Maurer, Charlie Miller, Bob Moriarty, SM, Frank ODonnell, SM, Andy Oravets, Frank Poliafico, Bob Schult, Bruce Segall, Rhett Segall, John Spellman, Brian Trick, Herb Verbesey, Joe Wessling, Ken White, and Jim Wolf. Gestascumsociisresmeminissejuvat. (It delights me to remember all the things we shared together).

Donald Wigal

Manhattan, 2005

CONTENTS

The writer has tried to be accurate in referencing. However, there are very likely errors here, especially in the chronological order of events, and the titles and dates of works. For the first two years or so after publication, corrections and updates may be available in English from .

Abbreviations

AbEx

Abstract Expressionism

AOTC

Art of This Century, Manhattan

Benton

Thomas Hart Benton

Guggenheim

Peggy Guggenheim

Krasner

Lee Krasner

MoMA

Museum of Modern Art, Manhattan

Pollock

Jackson Pollock

Foreword

E ach of the four sections of this book refers to a span of at least ten years. Each subsection, usually covering one year, opens by noting historical events relative at least indirectly to Pollock, or offers some significant backdrop to his life. Events named within that year are not necessarily presented here in strict chronological order. This book should not be relied on for trying to create a strict chronology of details.

Although several interviews and over twenty biographies of Pollock were referred to while researching this work, when referring to Pollock s biographers without specific names, the reference is to the extensive work of Naifeh & Smith. Likewise, de Kooning s biographers always refer to Stevens & Swan. Peggy Guggenheim s biographer always refers to Mary V. Dearborn.

Untitled Self-portrait 1931-1935 Oil on gesso on canvas mounted on - photo 2

Untitled(Self-portrait), 1931-1935.

Oil on gesso on canvas, mounted on fibreboard, 18.4 x 13.3 cm ,

The Pollock-Krasner Foundation, New York .

Itisjustamatteroftimeandworknowformetohavethatknowledgeapartofme.AgoodseventyyearsmoreandIllmakeagoodartist.

Age

Introduction

Fifty years ago the artist Jackson Pollock died, but he lives on in his biographies and especially in his work. However, much of his genius was expressed by how he veiled the visible while he unveiled the invisible.

A survey of the main events of Pollocks life might lift some of the veils from his troubled soul and his amazing work, as well as explain somewhat his turbulent times. However, this overview offers no definitive explanation for either Pollocks behaviour or his genius. It is intended to offer an opportunity to stand before the man and his oeuvre and be perplexed by the negatives, in awe of the positives, and aware of the ambiguities.

However, it may be that by veiling himself and his art as he so uniquely did, Pollock paradoxically revealed much of his interior life, thereby making it possible to see and better understand therein something of his spiritual journey if not also something of the universal human journey.

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