Number 3 - Jackson Pollock
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A classic example of Jackson Pollock's drip technique, this 1949 work captures the kinetic energy and layered complexity of Abstract Expressionism.
Number 3, created in 1949, represents the period when Jackson Pollock refined his signature drip technique. By placing his canvas on the floor, he moved away from traditional easel painting, allowing him to interact with the work from all sides. This physical engagement resulted in a complex web of lines and paint splatters that record the movement of the artist across the surface.
The composition relies on the layering of different paint viscosities. Pollock utilised industrial enamel alongside traditional oil paint, creating a contrast in texture and sheen. The dark, muted background provides a stage for the energetic application of primary colours, including red, yellow, and blue. These colours are applied through a combination of pouring, dripping, and flicking, which creates a sense of rhythm and kinetic energy.
Unlike earlier works that focused on figurative elements, this piece is entirely non-representational. The visual interest is generated by the density of the paint application and the interplay between the opaque black lines and the brighter, more fluid colour accents. The work lacks a single point of focus, encouraging the viewer to scan the entire surface. This approach reflects the artist's interest in the subconscious and the spontaneous nature of the creative act. The resulting image is a record of a specific moment in time, capturing the speed and force of the artist's gestures. As a fine art print, this reproduction maintains the textural quality and colour relationships of the original, offering a clear view into the methods of one of the most influential figures in mid-twentieth-century American art.
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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
- 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 3 - 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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