In 1949 after an article in Life magazine Jackson Pollock becomes a subject of curiosity for Americans eager to promote new artistic trends. His method of dripping on huge canvases laid flat on the ground is unique. Physically and psychologically the artist becomes part of the art in progress.
From his remote studio in Long Island, Pollock does not care about his new reputation. Seconded by Lee Krasner who controls his sobriety, he has full confidence in his own creativity. His art is not limited to a gesticulation around large formats.
His brother Sanford "Sande" McCoy is a printer. He kept from a previous operation an attrition of fifteen masonite panels 56 x 56 cm printed on one side with a game of baseball. He gives them to "Jack" in early 1950.
The texture of the panel is more conducive than a canvas to the entanglement of bright colors of his enamel and aluminum paints. Pollock no longer needs a preparatory work. When he creates on the reverse of the baseball game the jewel like textures of his organic world, he is in direct contact with his work.
The result suits him so much that he renounces in this series to the idea of infinity supported by large formats : on the edges the raw masonite is preserved with great sharpness, probably obtained with a blanking mask.
Number 12, 1950 was sold for $ 18.3M including premium by Sotheby's on May 12, 2015. Number 21, 1950 is estimated £ 10M for sale by Christie's in London on March 6, lot 28.
SOLD for £ 9.3M including premium
From his remote studio in Long Island, Pollock does not care about his new reputation. Seconded by Lee Krasner who controls his sobriety, he has full confidence in his own creativity. His art is not limited to a gesticulation around large formats.
His brother Sanford "Sande" McCoy is a printer. He kept from a previous operation an attrition of fifteen masonite panels 56 x 56 cm printed on one side with a game of baseball. He gives them to "Jack" in early 1950.
The texture of the panel is more conducive than a canvas to the entanglement of bright colors of his enamel and aluminum paints. Pollock no longer needs a preparatory work. When he creates on the reverse of the baseball game the jewel like textures of his organic world, he is in direct contact with his work.
The result suits him so much that he renounces in this series to the idea of infinity supported by large formats : on the edges the raw masonite is preserved with great sharpness, probably obtained with a blanking mask.
Number 12, 1950 was sold for $ 18.3M including premium by Sotheby's on May 12, 2015. Number 21, 1950 is estimated £ 10M for sale by Christie's in London on March 6, lot 28.
SOLD for £ 9.3M including premium
Jackson Pollock Drip Painting at Christie’s in March https://t.co/Oz8aESWFnB pic.twitter.com/1frxgPQuxh
— Art Market Monitor (@artmarket) February 12, 2018
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