Number 2 - Jackson Pollock
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Beschreibung
A 1951 abstract composition by Jackson Pollock, featuring a dense, rhythmic network of lines rendered in a warm, golden-ochre palette.
Number 2, created in 1951, represents a specific period in the career of Jackson Pollock. During this time, the artist moved away from his earlier, dense drip paintings, often incorporating more controlled gestures and a restricted palette. This work is dominated by golden, ochre, and amber tones, creating a surface that appears almost metallic or parchment-like in its texture.
The composition relies on a web of linear marks that traverse the canvas. Unlike the chaotic layering found in his earlier works, these lines possess a rhythmic quality, suggesting a deliberate engagement with the physical act of painting. The paint application varies in thickness, with some areas showing thin, translucent washes and others displaying heavier, impasto-like strokes. This variation creates a sense of depth, despite the overall flatness of the picture plane.
Pollock utilised a range of tools to apply the pigment, resulting in marks that shift between fluid curves and sharp, angular incisions. The interaction between the dark, almost black lines and the lighter, warm background creates a visual tension. The work avoids traditional representational elements, focusing instead on the relationship between colour, line, and the physical surface of the canvas. It is an example of the artist's exploration of automatic gesture and the physical presence of the medium. The painting invites the viewer to observe the movement of the artist's hand across the space, documenting a series of decisions made during the creative process. By limiting the colour range, Pollock directs attention to the structural qualities of the composition, allowing the viewer to analyse the interplay of light and shadow within the dense network of marks.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Number 2 - Jackson Pollock
Artist Biography
Jackson Pollock
He drank heavily from his teens onwards. He was in and out of psychiatric treatment, tried Jungian analysis, and spent time working for the WPA Federal Art Project during the Depression. The early paintings are dark, tangled, influenced by Picasso and by the Mexican muralists Orozco and Siqueiros, whose experimental techniques (including pouring paint) Pollock encountered in a workshop.
The drip paintings started in 1947. He laid canvas on the floor of his barn in Springs, Long Island, and poured household enamel paint from tins, flicking and dripping it with sticks, trowels, and hardened brushes. He moved around the canvas, working from all four sides. No easel, no brushes touching surface, no predetermined composition. 'I am nature,' he told an interviewer, which sounds grandiose but describes the method accurately: the paintings record physical movement through space.
The drip period lasted roughly four years. By 1951 he had largely stopped, returning to figurative work that nobody wanted. His marriage to the painter Lee Krasner deteriorated alongside the drinking. He died in a car crash in 1956, at forty-four, drunk at the wheel. Krasner spent the next three decades managing his legacy and making her own paintings, which were excellent and consistently overlooked.
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