Number 14 - Jackson Pollock
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A striking black and white abstract composition from 1951, showcasing Jackson Pollock's mastery of gestural line and rhythmic movement.
Number 14, produced in 1951, belongs to a period in which Jackson Pollock moved away from his earlier polychromatic drip paintings. During this time, he focused on a restricted palette of black and white, often incorporating industrial materials such as Duco enamel. This shift allowed him to explore the relationship between line, form, and the physical surface of the canvas without the distraction of colour.
The composition displays the characteristic energy associated with Pollock's process. The black paint is applied in fluid, gestural marks that weave across the light-toned ground. These lines vary in weight and density, creating a sense of movement that suggests both depth and flatness simultaneously. Unlike his earlier works, which often featured dense, all-over webs of colour, this piece reveals more of the negative space, allowing individual marks to remain distinct.
Pollock's technique involved placing the canvas on the floor, which enabled him to work from all four sides. This approach removed the traditional hierarchy of a top or bottom edge. The resulting image is a record of the physical actions taken during its creation. The interplay between the dark, viscous paint and the pale background creates a stark contrast, drawing the eye to the rhythm of the brushwork and the drips that define the surface. This work provides an example of the artist's transition toward a more graphic, calligraphic style, where the act of painting becomes a direct extension of the artist's movement. It remains a significant example of mid-century American abstraction, demonstrating how Pollock manipulated paint to create a sense of balance within a seemingly chaotic arrangement of marks.
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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
Number 14 - 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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