The surface to be painted is placed on the floor of the studio, allowing the artist to drip the paint. The flexibility of the wrist permits a progressive coverage of the entire area. Contrary to the drawing where rubbing stains the surface, this technique can be indefinitely repeated with additional layers.
In 1950, his third year of intensive practice of dripping, Pollock reached the thoroughness of a miniaturist. The fine lines of pure and brilliant colors are almost invisible, and from one painting to the other the overall effect is always different.
The elementary gesture is close to the convulsive subconscious of the surrealist drawing but the artwork is not completed until the overall result meets the desire of the artist.
He received from his brother fifteen masonite panels of the same size 56 x 56 cm. The dense fibers of the condensed wood interest him, perhaps because they offer a basic texture that exempts the artist to start with a trivial drawing from his fantasy that he will then have to hide.
Mondrian did not need a large size to express the infinite, same for Pollock for the sublime organic. These fifteen paintings are among the best of his art.
On May 12 in New York, Sotheby's sells Number 12, 1950, lot 31 estimated $ 15M. I invite you to watch the video shared by the auction house.