Number 8 - Jackson Pollock
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A detailed view of Jackson Pollock's 1949 drip painting, showcasing his signature technique of layered, energetic paint application.
This detail from Jackson Pollock's 1949 work, Number 8, captures the physical energy of his drip technique. Pollock moved away from the easel, placing his canvas on the floor to apply paint through pouring, dripping, and flinging. This method allowed for a direct connection between the artist's movement and the final mark on the surface. The composition lacks a traditional focal point, instead presenting an all-over distribution of lines and splatters that suggest a continuous, non-hierarchical space.
The palette here includes black, white, yellow, and red, layered to create a sense of depth despite the flatness of the canvas. The black lines act as a structural web, while the lighter tones and splashes of red provide contrast and rhythm. This approach to painting prioritised the process of creation as much as the finished object. By removing the brush from direct contact with the canvas, Pollock altered the relationship between the artist and the medium, focusing on the velocity and gravity of the paint itself.
Pollock's work from this period is often associated with the New York School. His technique required a large scale, which forced the viewer to engage with the painting as an environment rather than a static image. The absence of representational forms invites the viewer to interpret the visual data through their own perception of movement and colour. This print reproduces the texture of the original paint application, allowing for a close examination of the layering and the viscosity of the materials used. It is a representative example of the mid-century shift toward 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.
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Características específicas
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- 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
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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
Number 8 - 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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