Educational Activities for Ovation's Documentary Jackson Pollock
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Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
LEE KRASNER Public Information (Selected Chronology)
The Museum of Modern Art 79 LEE KRASNER Public Information (Selected Chronology) 1908 Born October 27, Lenore Krassner in Brooklyn, New York. 1926-29 Studies at Women's Art School of Cooper Union, New York City. 1928 Attends Art Students League. 1929-32 Attends National Academy of Design. 1934-35 Works as an artist on Public Works of Art Project and for the Temporary Emergency Relief Administration. Joins the WPA Federal Art Project as an assistant in the Mural Division. 1937-40 Studies with the artist Hans Hofmann. 1940 Exhibits with American Abstract Artists at the American Fine Arts Galleries, New York. 1942 Participates in "American and French Paintings," curated by John Graham at the McMillen Gallery, New York. As a result of the show, begins acquaintance with Jackson Pollock. 1945 Marries Jackson Pollock on October 25 at Marble Collegiate Church, New York. Exhibits in "Challenge to the Critic" with Pollock, Gorky, Gottlieb, Hofmann, Pousette-Dart, and Rothko, at Gallery 67, New York. 1946-49 Creates "Little Image" all-over paintings at Springs, Easthampton. 1951 First solo exhibition, "Paintings 1951, Lee Krasner," at Betty Parsons Gallery, New York. 1953 Begins collage works. 1955 Solo exhibition of collages at Stable Gallery, New York. 1956 Travels to Europe for the first time. Jackson Pollock dies on August 11. 1959 Completes two mosaic murals for Uris Brothers at 2 Broadway, New York. Begins Umber and Off-White series of paintings. 1965 A retrospective, "Lee Krasner, Paintings, Drawings, and Col lages," is presented at Whitechapel Art Gallery in London (circulated the following year to museums in York, Hull, Nottingham, Newcastle, Manchester, and Cardiff). -
Jackson Pollock in Action
LESSON 10 TEACHER’S GUIDE Jackson Pollock in Action by Barbara Tillman Fountas-Pinnell Level S Biography Selection Summary Jackson Pollock pursued his passion for art in high school and at the Art Students League in New York. He studied the work of artists he admired and eventually developed his own style of abstract art. Number of Words: 1,263 Characteristics of the Text Genre • Biography Text Structure • Narrative text organized in fi ve short chapters. • Details help the reader understand the author’s purpose. Content • Abstract art • How Pollock became an artist • Reactions to an artist’s work Themes and Ideas • Artists can be inspired by their surroundings. • An artist’s work communicates his own thoughts, feelings, and ideas. • Abstract art appeals to some, but not all, viewers. Language and • Descriptive language Literary Features • Conversational tone Sentence Complexity • Longer complex sentence structures with embedded phrases and clauses • Sentences with parenthetical material Vocabulary • Many art terms, some of which might not be familiar, such as composition, mural, technique Words • Many multisyllable words some of them challenging, such as reservations, muralist, unattractive • Phonetic pronunciation provided Illustrations • Illustrations support text and add interest. Book and Print Features • Eleven pages of text with a timeline at the end • Table of contents with easy-to-read chapter headings • Captions and text box support text. © 2006. Fountas, I.C. & Pinnell, G.S. Teaching for Comprehending and Fluency, Heinemann, Portsmouth, N.H. Copyright © by Houghton Mifflin Harcourt Publishing Company All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage or retrieval system, without the prior written permission of the copyright owner unless such copying is expressly permitted by federal copyright law. -
Current Issues in the Conservation of Contemporary Art and Its Non-Traditional Materials
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials Sandra Hong Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art and Materials Conservation Commons, Contemporary Art Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Hong, Sandra, "Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials" (2018). MA Theses. 15. https://digitalcommons.sia.edu/stu_theses/15 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko Monica Peacock A thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2018 12,043 Words High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko By: Monica Peacock Abstract: Transitional works of art are an anomaly in the field of fine art appraisals. While they represent mature works stylistically and/or contextually, they lack certain technical or compositional elements unique to that artist, complicating the process for identifying comparables. Since minimal research currently exists on the value of these works, this study sought to standardize the process for identifying transitional works across multiple artists’ markets and assess their financial value on a broad scale through an analysis of three artists: Jackson Pollock, Willem de Kooning, and Mark Rothko. -
Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
GO Directly to Hofmannopoly!
The Scottsdale Museum of Contemporary Art presents Hofmannopoly An Art Student’s Journey ���������� Each player is an art student journeying through Hans Hofmann's world and learning about his color theory. The first person to reach graduation wins: Congratulations, you're an art super star! Continue play until each player graduates. ��� ���� ����� a color printer 8.5" x 11" printer paper scissors tape or glue 2 to 4 small playing pieces (buttons, thimbles, bottle caps or coins work well) no dice necessary 2 to 4 players, ages 8 and up ��������� The game board consists of four pages. Assembly is easiest if you follow these instructions step by step: 1. Cut along the dotted line on Page 1. Do NOT cut along the solid lines. 2. Align the cut edge of Page 1 with the solid line on the left side of Page 2, making sure that the game board lines up properly. Using tape or glue, attach Page 1 to Page 2. 3. Now cut along the dotted lines on Pages 3 and 4. 4. Align the cut right edge of Page 3 with the solid line on the left of Page 4, again making sure that the game board lines up properly. Attach Page 3 to Page 4. 5. Finally, attach Pages 3 and 4 to the bottom margin of Pages 1 and 2. 6. Cut out the direction cards, shuffle, and place on the Direction Cards square. ���������� ��� ����� The youngest player goes first. Pick a card from the top of the pile to start the game. Read the card out loud and move to the space on the board as directed. -
Postmoderní Interiérový Design V 70. a 80. Letech 20. Století: Rozdíly a Paralely Mezi Československem a Itálií
UNIVERZITA KARLOVA KATOLICKÁ TEOLOGICKÁ FAKULTA Ústav dějin křesťanského umění Sofya Komarova Postmoderní interiérový design v 70. A 80. letech 20. století: rozdíly a paralely mezi Československem a Itálií Bakalářská práce Vedoucí práce: PhDr. Milan Pech, Ph.D. Praha 2020 Prohlášení 1. Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. 2. Prohlašuji, že práce nebyla využita k získání jiného titulu. 3. Souhlasím s tím, aby práce byla zpřístupněna pro studijní a výzkumné účely. V Praze dne 12.07.2020 Sofya Komarova Anotace Tato bakalářská práce se zabývá postmoderním designovým nábytkem a interiéry 80. - 90. let 20. století v Itálii a Československé republice. Prozkoumá, jak italské řemeslo změnilo svět designu nábytku, zejména jak se odráželo v Československém nábytkovém designu v letech 1970 až 1980 na příkladech výstav z obou zemí. Klíčová slova Design, postmodernismus, nábytek, interiér, 70. - 80. léta 20. století, Itálie, Československo, výstava. Abstract Postmodern interior design between the 1970s - 1980s: Differences and parallels between Czechoslovakia and Italy. This bachelor thesis deals with postmodern design furniture and interiors of the 1970s - 1990s in Italy and the Czechoslovak Republic. It explores how Italian craft has changed the world of furniture design, especially how it was reflected in Czechoslovak furniture design in the 1970s to 1980s on examples of exhibitions from both countries. Key words Design, postmodernism, furniture, interior, ‘70s – ‘80s of the 20th -
Lauren Wilson ENGL 1200 – Marc Petersen
Lauren Wilson ENGL 1200 – Marc Petersen A Pollock Piece Jackson Pollock was truly a one-of-a-kind artist. While many critics consider his works to be simple, uninteresting, and easily repeatable, many fans see him as the art genius that dared to step out of art’s societal boundaries and attempted something new. Still others remain without critique or opinion and merely pass by his puzzling works. Although numerous artists have gained inspiration from the works of this original-minded individual, Pollock’s initial inspiration for his successful paintings is rarely discussed. So, what could possibly have led Pollock to the creation of such bold and unusual paintings, and could there be solely one inspiration, a bundle of inspirations, or did Pollock simply throw paint onto the canvas as some viewers believe? A natural place to begin our examination of Pollock is with his youth. Jackson Pollock, although born into a family that was almost always poor, was given several opportunities to explore his artistry. The youngest of five sons, Pollock was constantly encouraged by his mother to explore his creativity instead of living an athletic boy’s childhood (Tuchman 96). He and his brothers explored their artistic possibilities and found opportunities that would allow them to excel in their artistry. As they grew in their experiences, the boys carefully chose their desired medias. Three of the boys, including Pollock, chose painting, while one moved towards landscape architecture and the other into the craft of a rotogravure etcher. Although he was born in Cody, Wyoming, he was constantly on the move throughout Arizona and California as a result of his father’s failing farms. -
An Interview with Jackson Pollock
1 Jackson Pollock: An Interview Digitized and edited by Maria Caamano This interview was taped by William Wright in the summer of 1950 for presentation on the Sag Harbor radio station, but was never used. William Wright.: Mr. Pollock, in your opinion, what is the meaning of modern art? Jackson Pollock.: Modern art to me is nothing more than the expression of contemporary aims of the age that we’re living in. W.W.: Did the classical artists have any means of expressing their age? J.P.: Yes, they did it very well. All cultures have had means and techniques of expressing their immediate aims….The thing that interests me is that today painters do not have to go to a subject matter outside of themselves. They work from a different source. They work from within. W.W.: Would you say that the modern artist has more or less isolated the quality, which made the classical works of art valuable, that he’s isolated it and uses it in a purer form? J.P.: Ah ---the good ones have, yes. W.W.: Mr. Pollock, there’s been a good deal of controversy and a great many comments have been made regarding your method of painting. Is there something you’d like to tell us about that? J.P.: My opinion is that new needs need new techniques. And the modern artists have found new ways and new means of making their statements.…Each age finds its own technique. W.W.: Which would also mean that the layman and the critic would have to develop their ability to interpret the new techniques. -
Picasso, Cubism, and Antitrust: Welcome to the Modern Federal Trade Commission New York State Bar Association, January 29, 2015
Picasso, Cubism, and Antitrust: Welcome to the Modern Federal Trade Commission New York State Bar Association, January 29, 2015 Thank you for that kind introduction and for inviting me this evening. I had a chance to speak with many of you during the ABA’s Fall Forum last November. The contrast between that event and this reminds me of something Pablo Picasso once said: “When art critics get together, they talk about Form and Structure and Meaning. When artists get together, they talk about where you can buy cheap turpentine.”1 Now, maybe it is because, in November, I addressed a luncheon where the strongest thing served was sweet ice tea and tonight we are making a serious dent in the nation’s supply of artisanal whiskey—but I’ve found that when DC antitrust lawyers get together, they talk about mergers, acquisitions, and the latest FTC health care competition workshop, and when New York antitrust lawyers get together, they talk about how lousy the Knicks are. I’ve been thinking about Picasso as I’ve been researching what our world looked like in 1914. As most of you know, the FTC celebrated its centennial last September, and it has been fascinating to study the changing times into which our agency was born. In 1914, the world’s first electric red and green traffic lights were installed in Cleveland, Ohio, and the Panama Canal opened in, of all places, Panama.2 Robert Goddard started building rockets.3 The first regularly scheduled airline passenger service began between St. Petersburg and Tampa; Charlie Chaplin made his film debut; Babe Ruth began his professional baseball career; green beer was invented in the Bronx; and Europe toppled into the First World War.4 1914 was also the apex of the Cubist art movement, and Pablo Picasso was at its center. -
Jackson Pollock's Not-So- Fabulous Fakes in the Past Few Years, Several Forgeries Have Emerged in the Marketplace
AiA Art News-service Jackson Pollock's Not-So- Fabulous Fakes In the past few years, several forgeries have emerged in the marketplace By Jennifer Landes | March 7, 2019 - 10:00am A painting on fiberboard was one of the 45 works associated with John Re that were brought to the International Foundation for Art Research for authentication in 2011.IFAR With a deceptively simple-looking technique and auction and private sale prices averaging in the tens of millions, Jackson Pollock’s drip paintings are one of the most popular subjects for forgers, and several scams have emerged in recent years. Francis O’Connor, a Pollock scholar and co-author of the artist’s catalogue raisonné as well as a later supplement, once estimated that the known unauthenticated works by Pollock in the United States numbered around 350. Dr. O’Connor was known, along with Eugene Thaw, as one of the consummate experts in Pollock’s painting style. Both men died last year. It’s not clear whether the count included single works and caches of paintings and drawings that were found to be imposters during the past decade or so. One of the most recent cases involved works sold by John Re, an East Hampton resident who said he had found paintings by Pollock and Willem de Kooning while cleaning out a basement for Barbara Schulte after the death of her husband, George Schulte. He later changed his story to having found them in a storage warehouse in New York City. In 2011, the International Foundation for Art Research’s authentication service was engaged by someone who had purchased 45 of the 65 Pollock-attributed paintings from Mr. -
Fractals: a Resonance Between Art and Nature
Fractals: A Resonance between Art and Nature Richard Taylor, Ben Newell, Branka Spehar and Colin Clifford Physics and Psychology Reveal the Fractal Secrets of Jackson Pollock’s Drip Paintings The discovery of fractal patterns was an interesting advance in the understanding of nature [1, 2]. Since the 1970s many natural scenes have been shown to be com- posed of fractal patterns. Examples include coastlines, clouds, lightning, trees, rivers and mountains. Fractal patterns are referred to as a new geometry because they look nothing like the more traditional shapes such as triangles and squares known within mathematics as Euclidean geometry. Whereas these shapes are composed of smooth lines, fractals are built from patterns that recur at finer and finer magnifications, generating shapes of immense complexity. Even the most common of nature’s fractal objects, such as the tree shown in Figure 1, contrast 53 sharply with the simplicity of artificially constructed objects such as buildings. But do people find such complexity visually appealing? In particular, given peo- ple’s continuous visual exposure to nature’s fractals, do we possess a fundamental appreciation of these patterns – an affinity independent of conscious delibera- tion? The study of human aesthetic judgement of fractal patterns constitutes a rela- tively new research field within perception psychology. Only recently has research started to quantify people’s visual preferences for (or against) fractal content. A useful starting point in assessing people’s ability to recognize and create visual pat- ternsistoexaminethemethodsusedbyartists to generate aesthetically pleasing images on their canvases. More specifically, in terms of exploring an intrinsic ap- preciation of certain patterns, it seems appropriate to examine the Surrealists and their desire to paint images which are free of conscious consideration.