Number 4 - Jackson Pollock
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A 1951 action painting by Jackson Pollock, featuring a dense, rhythmic web of black, white, and ochre paint applied directly to the canvas.
Number 4, created in 1951, represents the mature phase of Jackson Pollock's career. During this period, the artist moved away from traditional easel painting, opting instead to place his canvas on the floor. This technique allowed him to engage with the entire surface of the work from all sides. He applied paint using sticks, hardened brushes, and syringes, creating a complex web of lines and drips.
The composition lacks a traditional centre or focal point. Instead, the eye moves across the surface, following the rhythm of the paint trails. Pollock utilised a palette of black, white, grey, and ochre, with occasional touches of red. The application of aluminium paint adds a metallic quality, reflecting light in ways that differ from standard oil pigments. This work demonstrates the artist's interest in the physical act of painting, where the movement of the body becomes part of the final image.
Pollock's approach to the canvas rejects representational imagery. The resulting surface is dense, with layers of paint building up to create a sense of physical texture. By removing the distinction between figure and ground, he created an all-over composition that occupies the viewer's field of vision. This piece is characteristic of his work from the early 1950s, where he balanced controlled gestures with the unpredictable nature of fluid paint. The work remains a primary example of the shift toward abstraction in mid-twentieth-century American art, focusing on the material properties of the medium and the spontaneity of the creative process.
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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
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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 4 - 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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