Jackson Pollock, the master of Abstract Expressionism, reached an endgame with his groundbreaking drip paintings in 1950, and then experimented with a new technique, akin to drawing, of pouring thinned
black enamel onto unprimed cotton duck.
Not exact matches
The self - portraits are also based on photographic images that have been screenprinted
onto canvas; in both groups of paintings, the varying tones of
black, gray, and brown
enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.
But in the early 1950s, in the years just before his tragic death at age 44 in an alcohol - fueled car crash, Pollock was experimenting with a new way of confronting his surface, spilling
black enamel paint — the kind you might use on outdoor ironwork —
onto raw cotton duck canvas, a clashing, angry union of synthetic industrial chemical and unprimed organic substrate.
This was the year that saw Pollock put aside his colored paints and begin «drawing» (squirting, flicking, and dribbling, with uncanny control) thinned
black enamel paint
onto beige, unprimed, cotton duck canvases.