Number 23 - Jackson Pollock
Archival giclée
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Description
A monochromatic example of Jackson Pollock's drip technique, featuring a complex web of black enamel lines on a white ground.
Number 23, produced in 1948, is a representative example of the drip technique developed by Jackson Pollock during his most productive period. By placing the canvas on the floor, Pollock moved away from the traditional easel, allowing him to apply paint from all sides. This physical engagement with the surface resulted in a web of lines that record the movement of the artist across the work.
The composition relies on the interplay between black enamel and white ground. Pollock used sticks, hardened brushes, and even turkey basters to manipulate the viscosity of the paint. The resulting marks vary from thin, taut filaments to thick, pooled drips. There is no central point of focus, as the eye is encouraged to travel across the entire surface. This approach removes the distinction between figure and ground, creating a field of activity that occupies the viewer's visual field.
Pollock's work from this era is often associated with the shift of the art world centre from Paris to New York. His process prioritised the act of creation itself, treating the canvas as an arena for physical expression. The lack of traditional perspective or representational subject matter forces the viewer to engage with the material qualities of the paint and the rhythm of the lines. This print captures the monochromatic energy of the original, maintaining the contrast between the dark, fluid gestures and the lighter background. It offers a clear view of the density and velocity inherent in Pollock's application method, providing an opportunity to examine the construction of the work at a closer scale.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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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
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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 23 - 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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