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The Impact of David Alfaro Siqueiros and José Clemente Orozco on Jackson Pollock

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The Impact of David Alfaro Siqueiros and José Clemente Orozco on Jackson Pollock Reevaluating “Peripheral Sources”: The Impact of David Alfaro Siqueiros and José Clemente Orozco on Jackson Pollock In Honor of Professor Pam Simpson John R. Wuestling Submitted in Consideration for Honors in Art History April 2012 1 Contents Reevaluating “Peripheral Sources”: The Impact of David Alfaro Siqueiros and José Clemente Orozco on Jackson Pollock............................................................................................................ 1 List of Illustrations ............................................................................................................................................. 3 Introduction: When Jackson met José and David: The Biographical Connections between Pollock and Orozco and Siqueiros ....................................................................................... 22 Chapter 2: The Lost Scholarly Legacy Connecting Pollock and the Muralists................ 29 Chapter 3: The Mythmakers: The Psychological Connections between Pollock and Orozco.................................................................................................................................................................... 40 Chapter 4: Who Really Invented Drip Painting? Siqueiros’s Innovation and its impact on Pollock ............................................................................................................................................................ 54 Chapter 5: Reconciling the Irreconcilable: Reading Pollock’s Personal Expression Through a Socialist Lens .............................................................................................................................. 64 Conclusion: Reevaluating the Existential Cowboy......................................................................... 77 Bibliography ....................................................................................................................................................... 79 2 List of Illustrations Figure 1- Pollock Ed Harris, 2000-Prometheus is displayed in the right corner of his studio Figure 2- Prometheus Jose Clemente Orozco Fray Hall, Pomona College 1930 3 Figure 3- Dining Room Frescos at the New School for Social Research picture from 1990. Orozco in front of the Table of Universal Brotherhood picture from the 1930s. Figure 4- David Alfaro Siqueiros working on Mitin obrero (Street Meeting), 1932, at the Chouinard Art School in Los Angeles. Sande Pollock and Rueben Kadish were participants. 4 Figure 5- Siqueiros Experimental Workshop, New York, 1936 Figure 6- Sketch Number 5 from Jackson Pollock Sketch Book number 1. Circa 1932- 1934 5 Figure 7- Sketch Number 25 from Jackson Pollock Sketch Book number 1. Circa 1932-1934 Figure 8- Pollock and Siqueiros prior to the May Day Communist Rally, New York 1936. Smithsonian Archives of American Art (Siqueiros in middle Pollock on right) 6 Figure 9- Collective Suicide David Alfaro Siqueiros and Experimental Workshop 1936 Metropolitan Museum of Art. Figure 10- Schematic Drawing of The Epic of American Civilization Jose Clemente Orozco 1932-1934. Dartmouth College. From Hood Museum of Art. 7 Figure 11- Modern Migration of the Spirit Jose Clemente Orozco 1932-1934 Dartmouth College Figure 12- Sketch Number 13 Jackson Pollock Sketch Book number 3. Circa 1934- 1938 8 Figure 13- Sketch Number 17 Jackson Pollock Sketch Book number 3. Circa 1934- 1938 Figure 14- Sketch Number 18 Jackson Pollock Sketch Book number 3. Circa 1934- 1938 9 Figure 15- Lee Krasner from Archives of American Art Figure 16- Clement Greenberg outside Jackson Pollock's studio By Hans Namuth Gelatin silver print, 1951. National Portrait Gallery 10 Figure 17- Ceiling Panel Prometheus Jose Clemente Orozco Fray Hall, Pomona College 1930 Figure 18- East Panel Prometheus Jose Clemente Orozco Fray Hall, Pomona College 1930 11 Figure 19- West Panel Prometheus Jose Clemente Orozco Fray Hall, Pomona College 1930 Figure 20- Table of Universal Brotherhood Jose Clemente Orozco New School for Social Research 1930-1931. 12 Figure 21- Christ Destroying his Cross Jose Clement Orozco National Preparatory School 1922-1924 Figure 22- Migration Jose Clement Orozco from Epic of American Civilization Dartmouth College 1932-1934. 13 Figure 23- Sketch Number 8 Jackson Pollock Sketch Book number 3. Circa 1934- 1938 Figure 24- Untitled Sketch examined by Henderson from Naifeh and Smith 1939-40 14 Figure 25- Untitled Sketch that Henderson referred to as Pollock’s culmination from Naifeh and Smith Figure 26- Diego Rivera, Detroit Industry (north wall detail), 1932. Detroit Institute of the Arts, Detroit. 15 Figure 27- André Masson. Automatic Drawing, 1924. Ink on paper. Museum of Modern Art, New York vs. Jackson Pollock, Number 23, 1948, Tate Gallery, London. Figure 28- Jackson Pollock 1950 National Portrait Gallery, Smithsonian Institution Gift of the Estate of Hans Namuth Image copyright Estate of Hans Namuth 16 Figure 29- Jackson Pollock, Convergence, 1952. Albright-Knox Art Gallery, Buffalo, N.Y. Figure 30 - David Alfaro Siqueiros, Echo of a Scream, 1937. Enamel on wood. Museum of Modern Art 17 Figure 31- Jackson Pollock, Blue Poles: Number 11, 1952 Enamel and aluminum paint with glass on canvas. National Gallery of Australia, Canberra 18 Figure 32- Jackson Pollock, Full Fathom Five, 1947. Oil on canvas with nails, tacks, buttons, key, coins, cigarettes, matches, etc. Metropolitan Museum of Art 19 Figure 33- Jose Clemente Orozco Dive Bomber and Tank. 1940. Six Panel Fresco. Metropolitan Museum of Art Figure 34- Torture of Cuauhtémoc. David Alfaro Siqueiros, 1951. Palace of Fine Arts, Mexico City. 20 Figure 35- Detail of the Sand Painting Process 21 Introduction: When Jackson met José and David: The Biographical Connections between Pollock and Orozco and Siqueiros In the 2000 biopic titled Pollock starring Ed Harris, a photographic reproduction of José Clemente Orozco’s Prometheus is prominently displayed in Jackson Pollock’s studio (Figure 1). Harris, who also directed the movie, recognized the significance of Orozco and even David Alfaro Siqueiros as stylistic influences on Jackson Pollock. If, in fact, this connection is a part of the popular consciousness then why has there been limited scholarship on Orozco and Siqueiros as forbearers to Pollock’s “American Style Modernism” from the art historical community? It is true that even introductory art history textbooks cite Los Tres Grandes as early sources of inspiration for Pollock.1 And, Stephen Polcari in his essay Orozco and Pollock: Epic Transformations examines Pollock’s internal psychological affinity for Orozco. But, these discussions fall short in garnering the true pervasive nature of the effect of two Mexican muralists upon both Pollock’s early as well as his mature works. The traditional notion that Pollock sought inspiration from European Modernists is an undisputable fact. However, with further examination of these so-called “peripheral sources,” most notably Orozco and Siqueiros, it is becomes clear that they are central to Pollock’s artistic development. To ground this argument in fact and to enhance the sometimes ambiguous practice of tracing stylistic developments, Pollock’s life must be examined to solidify his connections with Orozco and Siqueiros. Jackson’s interest in and relationship with Orozco and Siqueiros are undeniable. Through his circle of WPA artist friends, his older 1 Amelia Jones, ed., A Companion to Contemporary Art Since 1945 (Blackwell Companions to Art History) (Malden, MA.: Wiley-Blackwell, 2006), 25. 22 brothers, and his own work/mentor experiences, Pollock came into contact with the pair on numerous occasions throughout the 1930’s. Jackson’s first exposure to the muralists came at a precarious time in his life. Jackson channels the emotional and cathartic nature of the works of Orozco and Siqueiros during times of personal tumult. In 1929, while attending high school in Los Angles at Manual Arts, Jackson sent a brooding, melancholy letter to his eldest brother, Charles, who was an established artist in New York City. As an adolescent, this letter is one of the first signs of his depression and tortured psyche. The one glimmer of optimism was Jackson’s budding artistic ambition. As Jackson’s role model, Charles attempts to counter his sadness by encouraging his artistic enthusiasm. Charles urges Jackson to consider “the works of Rivera and Orozco in Mexico City” and states “[t]his is the finest painting I have seen done, I think since the sixteenth century.”2 He also tells Jackson to read an article in The Arts from October of 1927 on Orozco and goes on to say that “these men recogni[ze] the implements of the modern world and are ready to employ them.”3 Jackson responded to his brother’s suggestions and subscribed to Creative Arts Magazine in 1930.4 He scoured the publications for articles on the Muralists and Charles’ mentor Thomas Hart Benton. Although Charles was the first to expose Jackson to the Muralists, throughout his later career Jackson himself took advantage of every opportunity he had to view their works and participate in their commissions and workshops. As of 1930, Jackson had only seen reproductions of the works of Orozco, Siqueiros, and Rivera. It was not until Charles returned from New York to Los Angeles 2 Steven Naifeh and Gregory Smith. Jackson Pollock: An American Saga, 3rd ed. (New York: Woodward/White Inc,1998), 145. 3 Ibid 145. 4 Ibid 146. 23 and began attending the Otis Institute of Art when Jackson first saw one of their works in person. Later in that same
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