Jackson Pollock’s painting is distinguished all over the world because it explores a certain type of automatic, mechanical technique that pleases surrealists at irregular intervals. The paint is used a device rather than end because of its ability to produce the desired design. Evaluation of the paint shows that the painter loaded weighted strings, which reconstructs a solid network on the work of art.
The silvery paint that shines out of the dense egg-shaped tracery implies a gorgeous astronomical product. The works of Pollock shows an advanced skill in the field of modern paining. This is due to the advanced stage of disintegration. Disintegration is made possible through liberation and cathartic effect. Disintegration is clued-up by a highly individualized cadence. The painting has a main intention of assaulting the image-making sense.
At each point of attentiveness of these high-tension instances of bravura phraseology, which visually are similar to nervous spirals of snide wire, there is an unsatisfactory deficiency of resolution in a picture or graphic event for all their supernatural dispersal of power. It is even exciting to realize that the personal canvases in the paint presume a completely image-making action and singleness of the characteristic (Karmel 47).
Particularly, Pollock brought out the illogical excellence in picture making to one edge. It is a type of expression and a hazard for imitators in such a straight objective expression of states of being as compared to thoughts and meaning. Even in his scenario, the painting is not conceivably sustained by a uniting or main subject or practice and is too wasteful with bunches of surrealist perceptions.
What does come out is the large scale of Pollock’s processes, his extremely individualized cadence, and in conclusion something like an unadulterated calligraphic symbol for a devastating belligerent virility. There are textural revelations in Jackson Pollock’s newest sailcloth team. If they are not sailcloth, there is nothing the uneven picture that looks like the dark and light tinted sails in the Bay of Biscay or the Riviera. The Riviera contains incredible and oft-repeated twisting lines indecipherable across them as if raged by winds of the sea.
The best ever panel in Pollock’s illustration at the Parsons Gallery is an energetic prototype of forceful black and white with noticeable strokes of yellow, blue, and an infrequent red. The majority of Jackson Pollock’s works of art at the Betty Gallery look like nothing so much as a cleanup of knotted hair. One or two of them seem to be ordered and remarkable.
Comparison with Modernist Ideals
Modernist ideals refer to the modern view points in the field of painting. It refers to the modern practices employed by painters, which are more appealing and attractive as compared to the previous forms of paintings. In broader sense, modernism refers to a revolution that subscribes to the reasoning of modern painters as opposed to old, rigid practices that never appreciated inventions and innovations.
Modernism emerged after the 19th century meaning that the field of painting was responding to the new changes brought about by industrialization, urbanization, and globalization. The rapid growth of cities could not allow painters to continue using the old systems and practices but instead they had to employ new forms of paintings.
Clement Greenberg is considered the advocate of modernist ideals because he always criticized the views of conservative painters. His reasoning supports the works of Jackson Pollack on Phosphorescence. First, the reasoning of Pollock and Greenberg are similar in the sense that they both reject realism in the field of painting.
They do not subscribe to the views of realists but instead they utilize the findings of earlier painters to design the paintings that withstand the taste of time. In this regard, they employ the works of the past by applying reprise, incorporating old ideas into the new findings, rewriting the works of previous scholars, recapitulation, revising the previous findings, altering the previous painting techniques to suit the demands of the modern customer (Hopkins 12).
It should be understood the Greenberg and Pollock do not subscribe to the ideas of realists because of their claims that the works of art, particularly painting, do not change. They both have a standpoint suggesting that change is inevitable in every field of study or profession.
Greenberg noted that Emmanuel Kant was the first modernist because he went against the views of traditional philosophers by suggesting that theories must be falsified for them to be accepted as real theories. In the same way, Greenberg suggested that paint should be able to accomplish its intended purpose for it to be accepted.
The two were optimistic other forms of production would one day overtake that modern since change would never be prevented in any human society. In this regard, other forms of paintings that would suit the demands of society at the time would replace modernist ideals. Pollock suggested that it was the role of other artistic scholars to develop his ideas in order to come up with the most appealing paints.
Hopkins, David. After Modern Art 1945-2000. Oxford: Oxford University Press, 2000. Print.
Karmel, Pepe. Jackson Pollock – Interviews, Articles, and Reviews: [publ. in Conjunction with the Exhibition “jackson Pollock” … the Museum of Modern Art, New York, November 1, 1998 to February 2, 1999]. New York: Abrams, 1999. Print.