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Pollock later reacted very strongly against the style of Regionalist scene painting in which he was trained during his early years under Thomas Hart Benton. Only stylistic influences from Regionalism remained with Pollock, most importantly his use of the curved line and a violent although abstract depiction of natural elements seen in his early paintings. It is necessary to address why, if Pollock did not favor placing his art in service of politics, he worked for the WPA for nearly five years. Nancy Jachec has pointed out that by the Abstract Expressionists were forced to regard many of their liberal political hopes as unattainable.
In practice, it was either totalitarianism or American democracy. Three major elements of Abstract Expressionism emerged during the years between and Most importantly, Pollock and his friends came to disapprove of any kind of label, classification, or concrete description of their work. As the artists applied negation and autonomy to their art, they isolated it from other fields of knowledge. By allowing the paint to fall freely on the canvas without his conscious and deliberate stroking of the brush on its surface, he gave it the ability to drop as it may in the most independent way conceivable, short of using some kind of mechanical device.
There still exists much controversy over how well Pollock could actually control his technique; here we are only concerned with his stylistic approach to painting, in which the paint had the possibility of total unrestraint.
Through his painting technique he linked the concepts of autonomy and self-referentialism with the physical action so prominent among the Abstract Expressionists. As David Anfam observes, Pollock produced a style of art that could not be taken any further theoretically. This enabled him to explore themes of basic human nature and exemplify a political philosophy in which individuals were autonomous, and creative expression, rather than governmentled industry or economics, served as the glue for social bonds.
Early and Mid-Victorian Prose and Poetry, 1832–1870
His was an original and revolutionary creative form that introduced new ways of protesting existing political and social contexts to rediscover what it meant to be human. Chave believes the homogeneity of the New York School artists has been overestimated. The social condition of the modern world … is [seen in] the spiritual breakdown which followed the collapse of religion…. Science is not a view, but a method…. Abrams, , Reinhardt was perhaps the most extreme spokesman for the idea of negation. Rothko, A. Gottlieb, and B. Heath and Co. New York: Harcourt Brace, , Ashton, Dore and Joan Banach, eds.
Berkeley: University of California Press, Epstein Allentuck, Marcia, ed.
Karmel, Pepe, ed. Jackson Pollock: Interviews, Articles, and Reviews. New York: Museum of Modern Art, Krasner, Lee. Interviewed by Bruce Glaser. Motherwell, Robert. London: Yale University Press, Pollock, Jackson. Interview by William Wright. Rose, Barbara. New York: Viking Press, Schapiro, Meyer. Terenzio, Stephanie, ed. The Collected Writings of Robert Motherwell. New York: Oxford University Press, Anfam, David.
A Social History of Modern Art, Volume 1
Oxford University Press. Ashton, Dore.
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Cernuschi, Claude. Chave, Anna C. Mark Rothko: Subjects in Abstraction. New Haven: Yale University Press, Craven, David.
Cambridge: Cambridge University Press, Jachec, Nancy. Dust cover is intact; pages are clean and are not marr Condition is Acceptable.
Notes and highlighting throughout. Great resource for art historians, art Arnason A copy that has been read, but remains in clean condition. All pages are intact, and the cover is int Horvard Arnason; Marla F.
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