A detailed view of Jackson Pollock's 1950 masterpiece, showcasing the complex layering and rhythmic drip technique characteristic of his action painting.

Number 1 (Lavender Mist) is a primary example of Jackson Pollock's drip technique, developed during his most productive period in the late 1940s and early 1950s. This detail reveals the physical process behind the work, where paint was applied directly from cans or with sticks and hardened brushes onto an unprimed canvas laid flat on the studio floor. The composition lacks a traditional centre, instead spreading across the surface in a web of layered marks. Pollock utilised a variety of materials, including oil, enamel, and aluminium paint, to create the surface texture visible here. The title, suggested by the critic Clement Greenberg, refers to the atmospheric quality of the colours, though the work itself contains no actual lavender pigment. The density of the lines and the interplay of opaque and translucent layers create a sense of depth that defies the two-dimensional nature of the canvas. By removing the brush from the surface, Pollock allowed gravity and momentum to dictate the placement of the paint, resulting in a record of his physical movements. This work is held in the collection of the National Gallery of Art in Washington, D.C. It represents a shift in mid-century American art, moving away from representational imagery toward a focus on the act of painting itself. The chaotic appearance of the web is deceptive, as the distribution of paint across the canvas is controlled through the artist's rhythmic motion. This fine art print captures the texture and layering of the original, allowing for a close examination of the paint application and the complex colour relationships that define the work.