![]() Rorimer, then director of MMA), calls this painting's composition "costly clottings" quotes Rorimer describing it as "challenging, timely, and exciting". (color installation view of its examination by James R. Art: What It Is About." Life 47 (November 9, 1959), pp. "Midas on Parnassus." Art News Annual 28 (1959), p. 123, states that works such as this one are "more obviously astonishing inventions" than Pollock's later black and white paintings of 1951. 213, calls it "Autumn Rhythm" comments that Monet's late waterlily pictures anticipate Pollock's drip technique. 24 (installation photo), states that the MMA purchased this painting for a record $30,000. "The Legacy of Jackson Pollock." Art News 57 (October 1958), ill. 12, states that this painting was recently acquired by the MMA and was therefore not available for inclusion in this exhibition. cat., Whitechapel Gallery, organized by The International Council at the Museum of Modern Art, New York. "Metropolitan's New Look." Christian Science Monitor (October 26, 1957), p. "Notes." Metropolitan Museum of Art Bulletin 16 (Summer 1957), unpaginated. "For Spacious Skies, and All That." Art News 56 (November 1957), fig. New York, 1957, unpaginated, states that Pollock achieved a full state of freedom in this work. cat., The International Council at the Museum of Modern Art, New York. "The American Moderns." Metropolitan Museum of Art Bulletin 16 (Summer 1957), p. ![]() 26 (also published in the "Bulletin of the Museum of Modern Art, vol. "Art." Arts and Architecture 73 (January 1956), p. 156–59 (Cecil Beaton photographs, background for fashion spread, color). "Fashion: Spring Ball Gowns." Vogue 117 (March 1, 1951), ill. 40–41,60–61, ill., incorrectly calls this painting "Number 4, 1950" chronicles its creation from beginning to end, documented in photographs by Hans Namuth. "Pollock Paints a Picture." Art News 50 (May 1951), pp. 30 as an example of the overall composition suffering at the expense of "a clutter of more or less meaningless embellishment". New York 1950 are only identified by numbers, which "makes referencing them a bit dull" criticizes no. "The Art Galleries: Extremists." New Yorker (December 9, 1950), p. "Jackson Pollock," March 11–June 6, 1999, unnumbered cat. "Jackson Pollock," November 1, 1998–February 2, 1999, unnumbered cat. "Selection Three: Twentieth-Century Art," October 22, 1985–January 26, 1986, no catalogue. "Selection One: Twentieth-Century Art," February 1–April 30, 1985, no catalogue. "Jackson Pollock," January 21–April 19, 1982, unnumbered cat. Musée National d'Art Moderne, Centre Georges Pompidou. "Recent Acquisitions from the Department of Twentieth Century Art," October 16, 1979–January 30, 1980, no catalogue. "Summer Loan Exhibition," July 17–September 30, 1979, unnum. "Tribute to a Curator: Robert Beverly Hale," November 16, 1978–March 4, 1979, extended to March 18, 1979, unnum. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. "Jackson Pollock," April 5–June 4, 1967, no. "Three Centuries of American Painting," April 9–October 17, 1965, unnum. 26 (as "Autumn Rhythm," lent by the Sidney Janis Gallery, New York). "15 Years of Jackson Pollock," November 28–December 31, 1955, no. "A Retrospective Show of the Paintings of Jackson Pollock," December 1–21, 1952, no catalogue. ![]() "A Retrospective Show of the Paintings of Jackson Pollock," November 17–21, 1952, no catalogue. 46 as "Number 30," lent by Betty Parsons Gallery). "15 Americans," April 9–July 27, 1952, unnumbered cat. "Jackson Pollock," November 28–December 16, 1950, no catalogue.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |