Number 6 - Jackson Pollock
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Beschreibung
A classic example of Jackson Pollock's 1948 drip technique, featuring a dense, energetic web of black, white, and yellow paint.
Jackson Pollock produced Number 6 in 1948, a period during which he refined his signature drip technique. This work represents the shift in American art towards non-representational forms, where the physical act of painting becomes the primary subject. Pollock placed his canvas on the floor, allowing him to move around the work and apply paint from all sides. He used sticks, hardened brushes, and even the cans themselves to pour, flick, and drip industrial enamel and oil paints onto the surface.
The composition lacks a traditional centre or focal point. Instead, the surface is covered in a dense web of lines that create a sense of continuous motion. Black, white, and yellow pigments overlap to form a complex network, where the distinction between figure and ground disappears. The paint varies in thickness, with some areas showing thin, fluid lines and others featuring heavy, impasto-like accumulations. This layering creates a sense of depth despite the lack of conventional perspective.
Pollock avoided the use of traditional brushes, which allowed for a more direct connection between his movements and the final image. The resulting surface is a record of his physical gestures. By removing the easel, he changed the relationship between the artist and the canvas, turning the act of creation into a performance. This approach allowed for a degree of spontaneity that was previously absent from formal painting. The work does not rely on symbols or narrative content. It invites the viewer to engage with the material qualities of the paint and the energy of the marks themselves. As a museum-grade print, this reproduction captures the density of the original application, preserving the texture and the interplay of the monochromatic and metallic tones that define this period of Pollock's career.
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Care and materials
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 6 - 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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