Jackson Pollock was a famous abstract painter in the 1940s and 1950s. The idea that Pollock mainly developed was the idea of unconscious painting. However, the question must be asked, is it really about painting the unconscious, or rather incorporating and vivid ideas from life mixed with emotions, which are uniquely created from the long-term difficulties of an alcoholic life?
The true story behind Alciati Pollock, in addition to working with Peggy Guggenheim and being among the most famous painters of his time, his life was plagued by alcoholic madness, self-hatred and manic depression, which finally brought about his death. Together with his wife Lee Krasner, a Russian Jewish artist with whom he had a disastrous relationship, he moved with Jackson in 1946 so that Jackson could experience a greater “liberating” effect with his work.
When she supported his positive art, she encouraged him to let himself go within the art and not touch the drink so hard, which is why Pollock went through a period of his life where he did not consume alcohol for almost four years. Even at this time, in 1940, he began to allow his work to take over his life, he began to design large-scale murals, dropping paintings for which he became famous. He did not complete his murals with the usual tools and styles of painting such as boring brush work, but instead dropped and threw in paint. the hand and the gesture of the wrist. He also tended to use blunt tools such as trowels, knives, and clubs to paint the canvas. Also, one of the things that was more interesting about Pollock was that he did not use ordinary oil or acrylic; He used liquid paint and plaster to paint the house. Although he gave up alcohol for about four years, he always returned to it for some reason, and although the drink seemed to inspire his energy in art, Stare was a drinker.
During the 1940’s, the glory of Pollock, his work evolved into abstract expressions of unconscious imagery, which was influenced by his radical psyche. As stated by Michael Leja, “Pollock had difficulty communicating with Dr. Joseph Henderson and therefore offered to bring to his sessions some of his work for discussion.” This view is the first identification that Pollock had begun to believe contained in his psychologically revealing work. material.”1 According to this opinion, it seems to show that Pollock helped the psychologist in the process of condoning his work as being, in fact, psychological and enlightening the unconscious. These drawings, created by various stimuli, Pollock helped his way. However, Pollock, still plagued by alcoholism and depression, ended up in the hospital and there under the wing of Dr. Henderson from 1939-1940. of the images and of the treatment of painting, were unconscious. . “2 And also from the book Theory of Art 1900-2000, Pollock testifies “When I paint, I don’t know what I’m doing. — The source of my painting is the unconscious.” 3 Then, however, another relationship used by Leja provokes a strong, firm question behind Pollock’s aspirations: “The unconscious is not a certain, transhistorical, pre-existing thing whose structure and content can be discovered through scientific research. Indeed, as Peter Berger emphasized, the socially determined construction of reason arose in the social processes of identity production and confirmation.4
The unconscious is explained here as a concept. The unconscious is a perception rather than an act, and the unconscious is also a model that is manufactured by society and is managed or created by the production of self and confirmation in society. It is known that Pollock was in a mental state where he did not understand who he was or where he stood in the crowd, and this lead to his untimely death in a car accident on August 11, 1956. As illustrated by William Raverty. “Pollock also assumed the aura of a pop-existential hero: a lonely, sensitive, understood genius.” 5 and furthermore said by Elizabeth Langhorne, “In The Healing of the Blind. i>, Pollock draws a rare self-portrait – such passages taken from other paintings as to suggest a personal investigation.” 6 Pollock felt alone, he himself felt and completely misunderstood. from society, or that it was doubtless under his contemplation. Perhaps, because of this, that was why he felt really separate and indistinguishable from the society that helps man to know man being. Was it Pollock, rightfully so, who was walking the solitary path of solitude and seeking approval or some kind of key sign from society to confirm his self-image and self-concept? Leja had this reflection on Pollock’s call, “Is the meaning of these paintings to be found in what they tell about Pollock’s psychological condition, inscribed in Jungian symbolism or are the psychological elements really only supportive of an essentially deliberate process of ambitious artistry?”7 They called Pollock Jungianism because it served him so well that Jungianism, with its doctrine of apprehension and integration of the deep forces and motivations underlying human behavior, enabled Pollock to acquire it. a concern with the practices of phenomenology, dreams, mythology, and folklore, as well as a “fascination with certain Christian themes,” as Langhorne puts it. 8 As Leja explains, “Pollock’s direct and expressive engagement with particular Jungian concepts prepares us to recognize the less precise and circumscribed evidence of Jungian debt in his descriptions. These reveal the color Jungian theory coming from Pollock’s first attempt to reconcile the concept of the unconscious with some in deep and lasting ways”.
In addition to Leja p resenting consciousness as an “idea”, he also firmly asserts that Pollock was directly inspired by Jungianism, which he learned by psychiatric visits to entertain himself, and that by the impressions of his work and his own ideas. direct allegations of his work, which specifically denoted his consciousness. As with his fascinations with mythology, folklore and dreams, in addition to being influenced by Carl Jung and Sigmund Freud, he speaks to say that he is representative of the past Pollock was born in Cody, Wyoming, and also moved to Arizona and California in his younger years. It was common among Native American groups such as the Sioux-Cheyanne, Apache and Chumash; and became accustomed to living on reservations. The Native American heritage commonly expresses within its culture, the influence of magic, folklore and mysticism. The gods of the country, the sun, the sky, and the waters, believe that they are heirs. and besides, the inhabitants believed that everything had a spirit. Another notable Pollock in his early teens attended art school in Los Angeles where he was exposed to Mexican muralists. Pollock, as Soussloff stated, “Pollock learned something about mural painting and radical politics from Siquieros,” but he was exposed to both before working with Siquieros in 1936. 10 This was another cultural influence, but also because most of the paintings that Pollock produced, and for which he was most famous, were all mural images ranging in size from 9 x 18 fl. on the other hand, as described by Soussloff, “the reason Pollock’s paintings were seen as substitutes for many others, or even temporary treatments, for the effects he sought from the use of alcohol. More psychoanalytically, Pollock’s physical expression in abstract paintings is different. a deeper one that he obviously seeks to heal”. he developed, partly wanting to get back to his father in a homily-type mindset, but mostly what he was looking for, Soussloff describes, remedy‘s departure in childhood. “12
Another unfortunate cause, besides the fate of his father, was another very serious thing which cost Pollock moderately his health. As stated in Langhorne, “After his Platonic girlfriend Rebecca Tarwater, he refused a marriage proposal and his drinking led to his federal dismissal Art Project, he wanted to enter the Westchester psychiatric division of the New York Hospital for the treatment of acute alcoholism”. 13. In the hospital, Jackson began to draw more influence from women within the art. An ex-boyfriend noted the inspirational aspirations within a stretch of time as described by Langhorne as “showing Pollock’s preoccupation with active women.” 14 Another thing that stood out in Pollock’s painting was his intense anger towards women. Within his paintings he drew female figures with motifs of doom and fire, shriveled faces, gangrenous hair, and sometimes a woman or a woman carried herself in front of him/as Langhorne described Pollock in 1943, “the artist now transposes the female readiness into a vessel. All-painter, automatist energy , balanced to possess a female”. 15 It is clear that during Pollock’s stay in the hospital, his denial of the girl was so inflamed that he studied the classical arts, for example, when he developed and created the figures of Michelangelo. A man’s figure is crushed, then later a woman pondering the damnation. Pollock stepped and it seemed that this girl was the cause of the torture within his psyche. However, in 1943, after three years of his hospitalization, as Langhorne had articulated, he was using images of women because he was so frustrated to create art that was based on his inability to marry and more on the possibility of being available to women. . He turned negativity into workable, usable artwork, using images of women to create a series of silkscreens in 1943 before turning it into his famous 9 x 18 ft wall paintings.
The female figure is definite, as in the painting by Jackson Pollock called Moon Woman, although not precisely proportioned. This is because Pollock was fascinated by the two artists he studied while in the hospital: Pablo Picasso and Joan Mir³. Pablo Picasso is a remarkable sculptor, painter and artist, co-founder of the Cubist movement. Johan Mir³, on the other hand, was a Surreal artist, focusing his genius around the subconscious mind, and Mir³ also opposed the bourgeois style of painting supported by his ancestors. Pollock’s, Moon Woman, 1942 expresses both the appeals of the two artists. The color palette of Moon Woman share the impressions of Pablo Picasso due to the intensity of the painting used, equal to the beautiful works successfully shaped by Picasso in WWII. It was also a direct result of the influence of Cubism on Picasso. The woman is abstracted within the piece, the head more almond-shaped, the body with very loosely painted lines, the arm of a cord more like an actual arm, and the bones of the back a single continuous black line in which the body curves. is marked The painting, inspired by Joanna Mir³, has both a frontal and a portrait view, the face expressing two different characteristics of her self-consciousness: one calm and municipal, the other dark and mean.
Moon Woman at the time after Jackson Pollock was in the hospital and under the influence of Dr. Henderson was done. It is well known, as has been said above, that in entertainment, womanly foolishness is meditated upon. However, after focusing on his hospital visit, he turned his negativity into a female inspiration as a tool. to create works of art. The influence of this is shown in The Moon Woman because Pollock represents this particular woman as having two distinct views as if the woman herself had two different dispositions. This image could be an immediate influence of friendship, expressing two different auras or moods.
Another reason to consider this piece is that after visits with Dr. Henderson, Jackson Pollock began to think that his pieces psychologically revealed material from his unconscious. Although the unconscious is really a perception rather than an act, and the unconscious is the pattern that society constructs and helps in acquiring self-knowledge, as before, there is much to be said for Pollock. state of mind during the creation of this piece. The two parts of the piece, therefore, could represent not only that he had rejected the woman, but also his state of mind. Jackson was constantly in search of some deep understanding of who he was, and even as Jackson said in an interview with William Wright in the book Art Theory 1900-2000, “The artist works with space and time, and expressing his feeling more which it illustrates.’ Pollock incorporated his views and articulations into The Moon Woman, the figure in the picture has two dispositions, but Pollock , but then another part was so obscure and obsolete.
Another interesting quality about this painting was that Pollock began to use trowels, sticks, and bushes inappropriately. This uneven, bright, vivid red technique is drawn with a trowel rather than painting with a brush and paint the cherry color in an incomparable way across the canvas rather than thinly spread. The color was applied so fervently that Pollock enthusiastically suggested that the miners put more paint on top of the painting. For example, there are black, yellow, and orange smoke in the intense crimson smoky. And in the cyan there are many different spots of color to indicate that Pollock rather saturated the glass or cast the stick on the canvas to create odd, uneven dots.
The way he uses trowels, paint brushes, and the branches with which they apply Pollock’s lead to the canvas. He will know the first few enormous and mural masters, which he began to generate in the middle of the forties. The Woman in the Moon was one of the few pieces that Pollock created in the early forties of his future work experiments with Peggy Guggenheim in 1945. Of these works that Pollock made, he was the first modern painter. He has been described as an “action painter”, and also, because he was inspired rather than unconsciously expressed by the desires of life and studies, he was one of the most famous modern painters. It was WWII in the mid-fifties.
Notes
1. Michael Leja, “Art History,” Jackson Pollock: “Exhibiting the Unconscious 13 (1990): 545. .
2. Ibid., 544.
3. Harrison, Charles, and Paul Wood, eds., Art in Theory 1900-2000 (Malden: Blackwell Publishing, 1993) 571 .
4. Michael Leja, “Art History,” Jackson Pollock: “The Unconscious 13 (1990): 544.
5. Dennis Raverty, “Midwest Quarterly,” America’s Postwar Needs and the Origins of the Jackson Pollock Myth 43(2002): 337
6. Elisabeth Langhorne, “Art Journal,” Evolution and Revolution 58 (1999): 113.
7. Michael Leja, “Art History,” Jackson Pollock: “The Unconscious 13 (1990): 546.
8. Elizabeth Langhorne, “Art Journal,” Evolution and Revolution 58 (1999): 113.
9. Michael Leja, “Art History,” presenting Jackson Pollock: “The Unconscious” 13 (1990): 548.
10. Catharina Soussloff “The Drama Review” Jackson Pollock’s Post-Ritual Performance: Memories in Space 48(2004): 69.
(11) Ibid., 70-71.
12. Ibid., 71
13. Elisabeth Langhorne, “Art Journal,” Evolution and Revolution 58 (1999): 113-114.
(14) Ibid., 114
15. Ibid., 114
16. Harrison, Charles, and Paul Wood, eds., Art in Theory 1900-2000 (Malden: Blackwell Publishing, 1993) 584.
Works cited
Foster, Hal, Krauss, Bois, and Benjamin Buchloh. Art From 1900, Modernism, Antimodernism, Postmodernism, 1945 to the present. New York, NY: Thames & Hudson Inc., 2007
Harrison, Charles, and Paul Wood. Art in Theory 1900-2000. Malden, MA: Blackwell Publishing, 1993.
Langhorne, Elizabeth. “Evolution and Revolution.” Art Journal 58 (1999): 112-115. print
Leja, Michael. Jackson Pollock: Showing the Unconscious.
Raverty, Dennis. “The Needs of Postwar America and the Origins of Pollock’s Incense.” Midwest 43(2002): 337-345. print
Soussloff, Catherine. “Jackson Pollock’s Post-Ritual Effects: Memories Captured in Space.” The Drama Review 48(2004): 60-78. print
Sweet, David. “Nostalgia for Aesthetic Machism: Frank O’Hara and Jackson Pollock.” Journal of Modern Literature 23(2000): 375-391. print