Blue poles (Number 11) - Jackson Pollock
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A large-scale Abstract Expressionist work by Jackson Pollock, featuring a dense web of paint drips intersected by eight vertical blue lines.
Blue poles (Number 11) is a large-scale work by Jackson Pollock, created in 1952. It is a primary example of his drip technique, where paint was applied to a canvas laid flat on the floor. Pollock used sticks, hardened brushes, and basting syringes to manipulate the paint, creating a dense web of lines and spatters. The composition is defined by a chaotic network of black, white, yellow, and orange filaments.
Across this web, eight vertical, dark blue lines are positioned at irregular intervals. These structural elements provide a sense of rhythm and order to the otherwise frenetic surface. The physical presence of the paint is evident in the varying thickness of the application, which includes aluminium paint and fragments of glass. This work represents a shift in Pollock's practice, as he moved away from the purely all-over compositions of his earlier drip paintings toward a more structured arrangement.
Pollock's method prioritised the physical act of painting, treating the canvas as an arena for movement. The resulting surface records the gestures and energy of the artist. The work is held in the collection of the National Gallery of Australia, where it remains a significant example of mid-twentieth-century American abstraction. The interplay between the fluid, spontaneous lines and the rigid, vertical poles creates a tension that defines the visual experience of the piece. It is a complex arrangement of colour and texture that demands close observation to discern the layers of application.
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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
Blue poles (Number 11) - 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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