Pollock, One: Number 31, 1950 Dr. Beth Harris and Dr. Steven Zucker provide a description, historical perspective, and analysis of Jackson Pollock’s One: Number 31, 1950. Conservation: Jackson Pollock, One: Number 31, 1950 Paint Application Studies of Jackson Pollock’s Mural Mark Rothko No. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. PingooPrints Jackson Pollock - One Number 31 1950 - Canvas Art Print Reproduction. [1] The work of art was owned by a private collector until 1968 when it was purchased by Museum of Modern Art (MoMA) in New York City and has been displayed there ever since. Date: 1950. Begun approximately three years after his first painting in this style, the work is evidence of the artist's skill and technical prowess. [2] However, this lining was an indication of prior treatment that would have been completed before 1968; since the conservation record for the painting was minimal before MoMA bought it, the painting may have undergone other treatment as well, so it was compared to a picture of it taken at a show in Portland, Oregon in 1962 to look for discrepancies. In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. It is very popular to decorate the background of … By Charles Stuckey. To find out more, including which third-party cookies we place and how to manage cookies, see our privacy policy. 3/No. One: Number 31, 1950, Museum of Modern Art, New York; Number 32, 1950, Kunstsammlung Nordrhein-Westfalen; Number 27, 1950, Whitney Museum of American Art, New York. Artist: Jackson Pollock Date:1950 Medium:Oil and enamel paint on canvas One: Number 31, 1950 is a masterpiece of the “drip” technique and among the largest of Pollock’s paintings. This record is a work in progress. It has At 8 Feet 10 inches by 17 feet 5 and 5/8 inche. However, although works like One have neither a single point of focus nor any obvious repetition or pattern, they sustain a sense of underlying order. Location: Museum of Modern Art (MoMA), New York City, NY, US. If you notice an error, please contact us at [email protected]. That project has concluded, and works are now being identified by MoMA staff. It is very popular to decorate the background of … Some see in paintings like One the nervous intensity of the modern city, others the primal rhythms of nature. Jackson Pollock, One: Number 31, 1950, Oil and enamel paint on unprimed canvas, 1950 (MoMA)Speakers: Dr. Steven Zucker, Dr. Beth Harris Media: enamel, oil, canvas. Log in to USEUM to download unlimited free images, send e-cards and interact with thousands of famous paintings, drawings and illustrations. Jackson Pollock. [2] In physical terms, the painting did not need to be changed as its stretcher held the painting at an appropriate tension, and the canvas was set with an unobtrusive layer of lining adhesive applied that prevented any acid transfer. In the late 1940s, Abstract Expressionist painter Jackson Pollock began experimenting with a new method of working that involved dripping, flinging, and pouring paint onto Masonite panels and unstretched canvases laid flat on the floor. So, here we are in 1950, a painting called One: Number 31, a very strange title, and in my mind, one of Pollock's three best paintings. One: Number 31, 1950 exemplifies at a grand scale the radical “drip” technique that defined Pollock’s Abstract Expressionist style. By visiting our website or transacting with us, you agree to this. He began by laying canvas on the floor and pouring, dribbling, and flicking enamel paint onto the surface, sometimes straight from … Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. Corey D'Augustine. On the floor, Pollock said, “I am more at ease. Jackson Pollock was at the height of his career when he made One: Number 31, 1950. Oil and enamel on canvas, eight feet ten inches high by seventeen feet six inches wide. Created by The Museum of Modern Art. Genre: abstract. Jackson Pollock. If you have additional information or spotted an error, please send feedback to [email protected]. One is among the largest of his works that bear evidence of these dynamic gestures. One of three wall-size paintings he produced in swift succession in the summer and fall of 1950, it is a field of densely interlaced threads … One: Number 31, 1950 is one of the largest and most prominent examples of a Jackson Pollock Abstract Expressionist drip style painting. This and the physicality of Pollock’s method have led to comparisons of his process with choreography, as if the works were the traces of a dance. "[1], In 2013, One: Number 31, 1950 was taken down from its spot hanging in the MoMA and placed on the ground horizontally, so that conservators could analyze the painting and prepare for its restoration. “One: Number 31” (1950), among the handful of very large paintings he produced by this method, is a virtuoso showcase of his mastery of materials and technique. Jackson Pollock - 1 Number 31 1950 is a 4500x2247 HD wallpaper picture for your desktop, tablet or smartphone. Oil and enamel paint on canvas, 8' 10" x 17' 5 ⅝ " (MoMA) - marked in green to show the dominant compositional elements. [8] First, as the painting had only been dusted since entering MoMA’s collection in 1968, it was cleaned with sponges and swabbed with a chemically adjusted water solution to remove a yellow grime layer and other accumulated dirt. One: Number 31, 1950 is a masterpiece of the “drip” technique and among the largest of Pollock’s paintings. It has At 8 Feet 10 inches by 17 feet 5 and 5/8 inche. (American, 1912–1956) 1950. [4] Upon arrival, Namuth was initially disappointed because Pollock stated the large oil and enamel paint topped canvas was finished; however, this sense of dissatisfaction was short lived as Pollock spontaneously took his paintbrush and began slinging black, white, and brown paint onto the canvas in what Namuth recalled “a dancelike fashion.” [4], This complex mix of "tans, blues, and grays lashed through with black and white" of varying luster was the first of the many paintings that Namuth used to bring Pollock’s drip style painting, where Pollock used sticks, rigid brushes, and other instruments to fling and free handedly throw paint onto a canvas placed the floor beneath him, to the forefront of the art world. One: Number 31, 1950. The work of art was owned by a private collector until 1968 when it was purchased by Museum of Modern Art (MoMA) in New York City and has been displayed there ever since. [2] In a shift from the 1960s conservator value of a painting being immaculate without any signs of aging, MoMA conservators ultimately made the aesthetic choice to remove the white overpaint on the cracks and merely retouch them with watercolor paint to allow for minimal intrusion into the look of the original painting. One: Number 31, 1950. More information is also available about the film collection and the Circulating Film and Video Library. [2][6][7], Scholars at the MoMA think Pollock's unparalleled skill was highlighted through the work's interwoven bands of color which they felt contributed an aura of power and fullness to the painting in its entirety while maintaining a sense of elegance and meticulousness in the details. Please, Sidney and Harriet Janis Collection Fund (by exchange). Pollock: One: Number 31 1950. Make sure this fits by entering your model number. [3] In the summer of 1950 as One: Number 31, 1950 was being made, photographer Hans Namuth was invited to take photos documenting Pollock’s studio and work. One: Number 31, 1950 This is one of three wall-size paintings that Jackson Pollock made in the summer and autumn of 1950. One is among the largest of his works that bear evidence of these dynamic gestures. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected]. Begun approximately three years after his first painting in this style, the work is evidence of the artist’s skill and technical prowess. We use our own and third-party cookies to personalize your experience and the promotions you see. Our site uses technology that is not supported by your browser, so it may not work correctly. [1] MoMA scholars also emphasize a sense of fundamental order amidst the chaos and endlessness of One: Number 31, 1950 not containing any principle focal points or patterns; this serves as the foundation of interpretations of the painting in which it symbolized "the pulsing intensity of the modern city, the primal rhythms of nature, and even the infinite depths of the cosmos. Jackson Pollock, One (Number 31, 1950), 1950. The canvas pulses with energy: strings and skeins of enamel—some matte, some glossy—weave and run, an intricate web of tans, blues, and grays lashed through with black and white. He had struggled on it for a while, and he decided to take that painting off the easel, place it on the floor, and then pour some paint on the surface to finish it. Visit MoMA Learning for more teaching and learning resources. One: Number 31, 1950 is one of the largest and most prominent examples of a Jackson Pollock Abstract Expressionist drip style painting. [1][4] The painting constitutes one of the many examples of Pollock’s contempt for the Surrealist concept of accident superseding human consciousness in creating art as his drip style painting technique encapsulated random gravitational effects of paint being flung onto the canvas. [8], In 2019, One: Number 31, 1950 can be viewed at the MoMA by its more than 3 million annual visitors. [9] Additionally, One: Number 31, 1950 is one of the many Pollock paintings that has undergone fractal analysis that is being used to prove the authenticity of other Pollock works as well as to contribute more insight into fractal geometry in general. By visiting our website or transacting with us, you agree to this. One: Number 31. One: Number 31, 1950 is a masterpiece of the 'drip' technique and among the largest of Pollock's paintings. This picture is also available in the following sizes: 12"x16" ($99.99), 16"x24" ($129.99), 20"x30" ($149.99), 24"X36" ($169.99), 32"x48" ($249.99) Please contact the seller to order a different size by clicking on 'Pingoo Prints' above and then 'Contact Seller'. Period: Drip period. Img12 - Jackson Pollock One Number 31 1950 is a 1024x768 HD wallpaper picture for your desktop, tablet or smartphone. One: Number 31 Creator: Pollock, Jackson, 1912-1956 Published/Created: 1950 Topics: Painting -- United States -- 20th century -- (YVRC) Period/Style: Abstract Expressionist Culture: American Accession Number: 208450 Genre: paintings (AAT) Format: Image Content Type: Paintings & Drawings Rights: A lively essay by former museum curator Charles Stuckey offers an in-depth exploration of the painting, one of many groundbreaking works by Pollock in MoMA’s collection. “One: Number 31” (1950), among the handful of very large paintings he produced by this method, is a virtuoso showcase of his mastery of materials and technique. MoMA, New York Sidney and Harriet Janis Collection Fund (by exchange). His looping cords of color accordingly register force and speed yet are also graceful and lyrical, animating every inch of the composition. Conservation was made possible by the Bank of America Art Conservation Project, © 2021 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. We have identified these works in the following photos from our exhibition history. One - parentheses Number 31. 270 x 531 cm. If you would like to reproduce text from a MoMA publication, please email [email protected]. Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. For licensing motion picture film footage it is advised to apply directly to the copyright holders. One: Number 31, 1950 exemplifies at a grand scale the radical “drip” technique that defined Pollock’s Abstract Expressionist style. Number One, 1950 (Lavender Mist) embodies the artistic breakthrough Pollock reached between 1947 and 1950. Oil and enamel paint on canvas, 8' 10" x 17' 5 5/8" (269.5 x 530.8 cm) See this work in MoMA’s Online Collection. 13 The Case for Mark Rothko Mark Rothko (at MoMA) Restoring Rothko Barnett Newman Onement, I Barnett Newman at MoMA The Painting Techniques of Barnett Newman [2], One: Number 31, 1950 is one of three larger scale drip style paintings, the other two being Autumn Rhythm (Number 30) and Blue Poles, that Pollock created in 1950 at his iconic barn studio in East Hampton, New York. [2], Conservators discovered that an area of cracking, which results from the natural degradation of the actual paint, had been covered with what was confirmed by X-radiograph, ultraviolet examination, Fourier transform infrared spectroscopy, and X-ray fluorescence spectrometry to be overpaint. Description. Moving around an expanse of canvas laid on the floor, Pollock flung and poured ropes of paint across the surface. For access to motion picture film stills please contact the Film Study Center. Painted in 1950 by American painter Jackson Pollock, 1912-1956. One: Number 31, 1950, one of Pollock’s largest paintings, exemplifies his “drip” technique, in which he dropped, dribbled, or threw paint onto a canvas laid on the floor. 4.6 In the Galleries: A Closer Look at One: Number 31, 1950 4:43 4.7 In the Galleries: A Closer Look at Echo: Number 25, 1951 3:15 4.8 In the Galleries: A Closer Look at Easter and the Totem, 1953 2:21 We collected 11+ One Number 31 1950 paintings in our online museum of paintings - PaintingValley.com. Begun approximately three years after his first painting in this style, the work is evidence of the artist’s skill and technical prowess. A lively essay by former museum curator Charles Stuckey offers an in-depth exploration of the painting, one of many groundbreaking works by Pollock in MoMA's collection. All of wallpapers are hand-picked by our team and registered member and are free to download. Jackson Pollock American, 1912-1956 One: Number 31, 1950 , 1950 Oil and enamel on unprimed canvas, 8' 10" x 17' 5 5/8" Sidney and Harriet Janis Collection Fund (by exchange) Gallery label text, 2006: This is one of three wallsize paintings that Pollock realized in swift succession in the summer and autumn of 1950. A MoMA educator discusses how she teaches “One: Number 31, 1950" by Jackson Pollock, 1950. I feel nearer, more a part of the painting since this way I can walk around it, work from the four sides and literally be in the painting.” Pollock’s process has been compared to the movements of a dance. Style: Action painting. It was painted in an old barn-turned-studio next to a small house on the East End of Long Island, where Pollock lived and worked from 1945 on. All of wallpapers are hand-picked by our team and registered member and are free to download. [2] Upon further examination and the addition of a chemical solvent, the white overpaint, which covered details of Pollock’s work, was used more on the cracks than on losses in the paint layer. This fits your . Moving around an expanse of canvas laid on the floor, Pollock flung and poured ropes of paint across the surface. 210/No. [7], https://www.moma.org/collection/works/78386, "Jackson Pollock. [1] Pollock felt that in all of his drip style painting “there is no accident, just as there is no beginning and no end.” [5] Additionally, while composing artwork like One: Number 31, 1950, Pollock had always been more comfortable on the floor as he stated, “I am more at ease. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). Voiceover: Three years prior to the making of this painting, Pollock was working on a small easel painting. Calligraphic, looping cords of color animate and energize every inch of the composition, which seems to expand visually, despite its already enormous size. 211 (Orange), 1960 No. The way the paint lies on the canvas suggests speed and force, and the image as a whole is dense and lush—yet its details have a delicacy and lyricism. One: Number 31 is an artwork on USEUM. [1] Art historian Stephen Policari considered Pollock's poured painting to represent "a kind of frozen dynamic equilibrium of endless rhythm and energy" and believed the different combinations of curves and straight lines interacted with each other in a such a way that created a scheme of light and color so complex that it could not be described in the realm of Euclidean geometry. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected]. Finally, there is another point that reinforces my belief that these are not "all over" paintings. 1950: MoMA", "The Pollock‐Krasner House and Study Center", "CRITIC'S NOTEBOOK; The Photos That Changed Pollock's Life", "MoMA's Jackson Pollock Conservation Project: Wrapping Up Treatment of One: Number 31, 1950", Painting (Silver over Black, White, Yellow and Red), https://en.wikipedia.org/w/index.php?title=One:_Number_31,_1950&oldid=996103341, Creative Commons Attribution-ShareAlike License, This page was last edited on 24 December 2020, at 15:22. This picture hanging on this wall is painted on a very large, wide canvas. James Coddington, left, chief conservator of the Museum of Modern Art, gained a new perspective on Jackson Pollock’s “One: Number 31, 1950” at the museum’s conservation lab. These three paintings were painted the … I feel nearer, more a part of the painting since this way I can walk around it, work from the four sides and literally be in the painting.” [6], One: Number 31, 1950s juxtaposition of subdued colors with splattering of paint on top represents an indispensable example of Abstract Expressionist artwork. (Redirected from One: Number 31) Paul Jackson Pollock / ˈpɒlək / (January 28, 1912 – August 11, 1956) was an American painter and a major figure in the abstract expressionist movement. The Surrealists’ embrace of accident as a way to bypass the conscious mind sparked Pollock’s experiments with the chance effects of gravity and momentum on falling paint. It was created by Jackson Pollock in 1950. Jackson Pollock, One: Number 31, 1950 , Oil and enamel paint on unprimed canvas, 1950 (MoMA) Dimensions: 530.8 x 269.5 cm. We place and how to manage cookies, see our privacy policy the primal rhythms of nature can not licensed. And are free to download unlimited free images, send e-cards and interact with thousands of paintings! Modern City, others the primal rhythms of nature NY, us see privacy. Poured ropes of paint across the surface information is also available about the Collection! Moma staff, others the primal rhythms of nature 1950 is one three... Installation photos made in the following photos from our exhibition history that Jackson Pollock Application of... And technical prowess 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project machine! More, including which third-party cookies we place and how to manage cookies, see our privacy policy prominent. Or motion picture footage from films in MoMA ’ s Mural Mark Rothko No,. Collected 11+ one Number 31, 1950 is a masterpiece of the Modern City, NY, us information! “ drip ” technique and among the largest and most prominent examples of a Jackson Pollock, 1912-1956 footage is... 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