Mural on Indian Red Ground - Jackson Pollock
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A classic example of Jackson Pollock's 1950s drip technique, featuring a complex web of black, white, and yellow lines against an Indian red ground.
Jackson Pollock produced this work during the height of his career in 1950. It represents the artist's mature period, during which he moved away from traditional easel painting to place his canvas directly on the floor. This technique allowed him to apply paint from all four sides, creating a web of lines that lacks a single point of focus.
The composition relies on the interplay between the dense, chaotic network of poured paint and the flat, earthy background. Pollock used industrial enamel alongside traditional oil paint, which provided a specific viscosity and drying quality. The Indian red ground acts as a unifying base, pushing the black, white, and yellow lines forward. These lines vary in thickness and velocity, recording the physical movements of the artist as he worked around the canvas.
Unlike his earlier, more crowded works, this piece allows for moments of negative space where the red ground remains visible. The lack of a central subject forces the viewer to engage with the entire surface area simultaneously. This approach to painting prioritised the act of creation itself, treating the canvas as an arena for physical expression rather than a surface for representation. The result is a rhythmic, non-hierarchical arrangement that occupies the visual field entirely. By removing the horizon line and traditional perspective, Pollock created a sense of scale that feels expansive. The work remains a primary example of the mid-century shift toward total abstraction in American art.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Mural on Indian Red Ground - 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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